Leeway

A couple of recent pick-ups: THE CRUST - Emanem LP- and: MEMORIES FROM THE AGE OF THE DRAGON - Neokarma Jooklo Trio on Qbico LP:

HIDDEN VOICES - Anthony Davis James Newton Quartet (with Rick Rozie, bass, and Pheeroan akLaff, drums, and guest George Lewis, trombone. India Navigation. Excellent.

THE GIGI GRYCE-DONALD BYRD JAZZ LABORATORY & THE CECIL TAYLOR QUARTET - VERVE LP (this copy from Polydor Japan, mono). I love hearing the young Cecil and Lacy, here with Dennis Charles and Buell Neidlinger. The hipness factor is 10+. Cecil's "Tune 2" a harbinger of things to come. I like Gryce and Byrd's set too.

Magic Jack Happy Jack Jack Nicholson

One of my more coveted records. Hard to get ahold of and very, very good. Yeah. You don't see much mention of the record, but Warne blows beautifully on it. My copy looks a bit different, although the cover photo is the same: Interplay Records IP-7709. As a discographical point, not sure which jacket came first, or if they were mixed in production. I think the performance on this LP rocks (so to speak, ). Apparently the vinyl itself can be iffy; mine's fortunately OK.

Just back from New York City the other day, after spending several days on an improv binge, starting with Anthony Braxton Falling River Nonet at Roulette, with Fay Victor Ensemble's presentation of "Neighborhood Dynamics." Having made 3 late night runs up to Philly and back to DC in the last month, it might be understandable that I was suffering road fatigue. I had to shove myself out the door Saturday morning and start the usual 4 1/2 hour trip north. Except in this case, the trip took 6 1/2 hours due to traffic. Nevertheless, arrived in plenty of time for a bite to eat and drink before the concert. Note: If you are driving to NY, leave yourself plenty of room; traffic can be dreadful. I know the pot-holed streets are. The first half of the program was Fay Victor Ensemble. "Neighborhood Dynamics" is an extended piece for singer (Fay) and musicians (Nicole Mitchell, flute, Vincent Chancey, French horn, Anders Nilsson, guitar, Ken Filiano, double bass), on the dynamics of "gentrification" in formerly minority neighborhoods. I have to admit it didn't sound promising (maybe too didactic possibly), but it turned out to be a sparkling bit of social commentary sung and played with spirit. The delivery was witty and satirical, funny but astute. I recall one series of lyrics (don't take my memory of it as the actual thing please) that ran along the lines of, "Here come the restaurants.....now even the dogs are cleaner....gee, it looks like Europe now.....get out! we don't like you!" (to the previous residents). The musicians were all fine. Filiano seemed to act as musical director of the group, pushing, prodding, drawing inflections and expressions from the different members. But I was most attracted by Nicole Mitchell's flute playing. I'd probably drive the same distance again to hear her play flute like that. I think the audience was a bit stunned when Mitchell and Victor jumped into a game of "patty-cake" and really went at it! Obviously, the group was in high spirits. I could see this morphing into a musical. Braxton's Falling River Music Nonet was the drawing card. I got lucky, sitting in the first row, right below where Braxton took his position in the group. Here was the line-up: Anthony Braxton, saxophones James Fei, saxophones Ingrid Laubrock, saxophones Jasmine Lovell-Smith, saxophones Mary Halvorson, guitar Brandon Seabrook, guitar Tomeka Reid, cello Nate Wooley, trumpet Taylor Ho Bynum, cornet In essence, a group of young virtuosi. Amazing to see them perform. The group was arranged in a horseshoe form, with matching instruments on each side of the horseshoe, and guitars and cello anchoring the horseshoe in the middle. The music was wonderful. Dynamic, complex, full of variety. I don't have the program booklet at hand, don't know if there is a composition number for the piece. I'll try to find it. Best thing though was watching Braxton, who was totally into it, playing and giving occasional directions to the group. Soon after he started, the famous cardigan came off. Braxton really attacked his instruments, a sopranino, soprano, and alto. Braxton got into some spirited back-and-forths with other members of the ensemble, one in particular with Ingrid Laubrock, whom I noticed smiling and laughing a bit after one particular exchange. I had a chance to ask her a couple of days later about it, and she said it was just because the communication and spirit of the playing was so good. That's the way I felt about it too. A bit of a bonus. They were selling prints of some of Braxton's musical notation scores (the kind that look like expressionist paintings). I bought one and Mr. Braxton was kind enough to sign it for me. A very gracious man. He mentioned he is done with Wesleyan, and is moving closer to the New Haven line (to NYC), so I expect we will see more of Mr. Braxton on the Downtown scene, which will be terrific. Imagine Braxton performing new quartet pieces, sole performances, etc. I will happily log more hours on the NJ Turnpike for that!

I think AB's reference to Stockhausen in Nate's interview sort of clicked with me. I think that's the sort of operatic (better, let's call it vocal) tradition Braxton sees himself developing.

Curious as to where you're coming from here. No fan of the 60's political philosophy. I don't like the connection that many including some or most of my musical heroes make with politics. Put it this way as some from the old jazz corner know, I come from a very different place in these respects. Do you think you can really detach the music from its underlying philosophy? I really don't, not without injustice to the music. Otherwise, as they say, "the rest is noise." Anyway, I've never really heard anything explicitly political at VF. Mostly it's vague Art + Spirit = Beauty sort of thing. Vague enough to allow one to carry one's political views away unharmed. Oh go on, let it rip! I love him as a sax player, respect him as a piano player, and puzzle over him as a bass player. But I think he loves the bass the same way Michael Jordan loves minor league baseball. He's really an enigmatic figure; to me that's estimable. Rightly so. Steve, I'll let it go. Thanks for the reply. I guess I can't.

I'm not sure what criteria you would use to decide that. Steve Lacy seems more self-consciously 'artistic' (not a criticism, I very much like his music). Coxhill, though working in an arty-farty area, seems like many Brits to be a bit unsettled by it. I know when I saw him live he'd frequently stop the performance randomly, have a chat, then play something else. An almost deliberate avoidance of a finished, deliberately sculpted piece (and some of his records contain absurdist sections to disrupt any sense of overseriousness). I only saw Lacy the once and everything there seemed very crafted, a more traditional sense of creating well proportioned pieces, however freely improvised. We were lucky to have them both. Yes, I think Coxhill's Dadaist impulses occasionally get in the way of really hearing him as a musician. But when you can, you come away, I think, rather surprised by how beautifully he plays the soprano. On a recording like "Sitting on your stairs," his abilities shine a bit clearer. There are also some YouTube videos that allow one to hear his playing relatively unimpeded. Agreed. I've always held Lacy and Coxhill on their pedestals. The idea behind my question was to bring them into context with each other.

Mr. Rogers Rodger Dodger Roger Clemens

FLEAS IN CUSTARD - Lol Coxhill - Caroline LP. Speaking strictly in terms of soprano saxophone, would anyone hold for Coxhill being the equal or even superior of Lacy as a soprano player? Lacy's discography was clearly superior, but Coxhill had an amazing way with the soprano that justifies some attention.

JOY OF PARANOIA - Lol Coxhill - Ogun LP.

Have tickets for Saturdays performance of Faye Victor and Braxton's Nonet.

I've got this (double LP plus 7", right?), but haven't had a chance to play it yet. Have you heard the whole of it? Like? I'm seeing Made to Break at end of April, KV will be right in my neighborhood.

SSDD? Roney was in that "Celebrating Ornette" band with Denardo. He didn't impress me there, I think that was the wrong ensemble for him, but hey, the guy seems to be making an effort, so I'll listen. With something like Vision Festival, you are not going to dig every act, I suppose, but my experience is that you get the most out of the festival by going to those that you think you are not going to like, as well ads one's faves. Oftentimes, those are the ones that surprise in the best possible way. And when I go to a festival like this, it's that element of surprise that makes it worthwhile. I have a lot of respect for these musicians, in their ability and their judgment, and sometimes even their failures are more enlightening than something played by number.

Here's the lineup for this year's Vision Festival, and it looks really good. http://avantmusicnews.com/2014/04/07/vision-festival-19-announced-for-june-11-15-in-new-york/ For me, right off the top, it's the Moondoc and Brotzmann shows, and Charles Gayle Night, but there are many other fine shows. I'm likely going for the week. WEDNESDAY, JUNE 11 Charles Gayle – A LifeTime of Achievement Gayle Trio + Dance: Daniel Carter (reeds), Miriam Parker (dance), Charles Gayle (b), Michael T.A. Thompson (d) Gayle Quartet Charles Gayle (sax), Dave Burrell (p), William Parker (p), Michael Wimberly (d) Poet David Mills Charles Gayle & the Vision Artist Orchestra Charles Gayle (p, conduction) Kidd Jordan (ts), Hamiet Bluiett (bar), Ingrid Laubrock (ts) Ted Daniel (tpt), Steve Swell (tb) Jason Kao Hwang, Mazz Swift (vln, vna) Nioka Workman (cello), Shayna Dulberger (b), Andrew Cyrille (d) THURSDAY, JUNE 12 Poet: Steve Dalachinsky Mary Halvorson + Susan Alcorn Mary Halvorson (el-g), Susan Alcorn (lap steel gtr) Wimberly Harlem Ensemble Antoine Roney (ts, ss), Larry Roland (b), Nioka Workman (cello), Michael Wimberly (perc) Dyane Harvey-Salaam, Souleymane Bodolo (dance, choreography) Sainkho Namchalok + Ned Rothenberg Sainkho Namchalok (voice), Ned Rothenberg (woodwinds) Peter Brötzmann + Hamid Drake + William Parker Peter Brötzmann (reeds), Hamid Drake (perc), William Parker (b) FRIDAY, JUNE 13 Poet: Ramya Ramana Dickey Quartet Whit dickey / Mat Maneri / Michael Bisio / Rob Brown Women with an Axe to Grind Shayna Dulberger / Kris Davis / Mazz Swift / Patricia Nicholson Jemeel Moondoc Quintet, Jemeel Moondoc (as), Steve Swell (tb), Nathan Breedlove (tpt), Hill Green (b),Newman Taylor Baker (d) James “Blood” Ulmer Trio James “Blood” Ulmer (elg), Calvin Jones (b), Cornel Rochester (d) SATURDAY, JUNE 14 Poet: David Henderson Satoko Fujii New Trio +1 Satoko Fujii (p), Todd Nicholson (b), Yoshi Shutto (d), Kappa Maki (tpt) Matthew Shipp Trio Matthew Shipp (p), Michael Bisio (b), Whit Dickey (d) TarBaby Nasheet Waits (d), Eric Revis (b), Orrin Evans (p) Sonic Projections Nicole Mitchell (fl), David Boykin (ts), Craig Taborn (p), Chad Taylor (d) SUNDAY, JUNE 15 Poet Quincy Troupe Angelica Sanchez + Omar Tamez Angelica Sanchez (p), Omar Tamez (elg) Fay Victor + Tyshawn Sorey Fay Victor (voice), Tyshawn Sorey (d, perc, found instruments) Jordan + Burrell + Parker + Drake Kidd Jordan (ts), Dave Burrell (p), William Parker (b), Hamid Drake (d) TIMES THREE Connie Crothers (p), Henry Grimes (b, vln), Melvin Gibbs (el-b) Roy Campbell Tribute Band led by Sabir Mateen, Rob Brown, Andrew Bemkey, William Parker, Hamid Drake

All I can say is that by the time I got around to "Don't Get Around Much Anymore," the last cut of the album, I had pretty well had it. But I do appreciate your thoughts on the album, CT. NP: I'm a fan of the Human Arts Ensemble in its various permutations: THE HUMAN ARTS ENSEMBLE LIVE, VOL. 1. Circle Records. Recorded live Holland, May 1978. I'm still not completely certain who played on this album. The album credits only Charles Bobo Shaw Jr on drums; Luther Thomas on alto sax; and, John Lindberg (misspelled Linberg) on bass. The picture of Lindberg on the back cover is amusingly postage stamped size, while the picture of Joseph Bowie on trombone is the same size as those of Gray and Shaw, even though Bowie is not official credited on the album. At the end of Side 1, Bowie is mentioned by the announcer, as is James Emery on guitar, seen in one of the photos, as part of the ensemble. Officially though, they are not part of the recording. Anyway, these guys really bring it here. I've been puzzled by that cover too. I don't have vol.2 but aren't Emery and Bowie on vol.2? I assumed it was a shared back cover for both volumes. Someone must have both volumes...... Yes, that's correct. Found an image of the back cover of Vol. II, same as Vol. I, except that the credits are different, showing Shaw, Joseph Bowie, and James Emery.

Lester Bowie, Marty Ehrlich, Carol Marshall, James Marshall, J.D. Parran, Victor Reef, Charles Bobo Shaw, Butch Smith, Abdallah Yakub, Alan SUits, Vincent Terrell. July 1973, St. Louis. It might be interesting to exam Lester Bowie's work in AEC with that of his involvement in other ensembles such as this, BAG, etc.

All I can say is that by the time I got around to "Don't Get Around Much Anymore," the last cut of the album, I had pretty well had it. But I do appreciate your thoughts on the album, CT. NP: I'm a fan of the Human Arts Ensemble in its various permutations: THE HUMAN ARTS ENSEMBLE LIVE, VOL. 1. Circle Records. Recorded live Holland, May 1978. I'm still not completely certain who played on this album. The album credits only Charles Bobo Shaw Jr on drums; Luther Thomas on alto sax; and, John Lindberg (misspelled Linberg) on bass. The picture of Lindberg on the back cover is amusingly postage stamped size, while the picture of Joseph Bowie on trombone is the same size as those of Gray and Shaw, even though Bowie is not official credited on the album. At the end of Side 1, Bowie is mentioned by the announcer, as is James Emery on guitar, seen in one of the photos, as part of the ensemble. Officially though, they are not part of the recording. Anyway, these guys really bring it here. I've been puzzled by that cover too. I don't have vol.2 but aren't Emery and Bowie on vol.2? I assumed it was a shared back cover for both volumes. Someone must have both volumes...... I don't have Vol. II, but Discogs shows the same cover for Vol. II as Vol. I, but in yellow, with the following credits: Drums – Charles Bobo Shaw Jr.* Guitar – James Emery Producer – Rudolf Kreis Trombone – Joseph Bowie

All I can say is that by the time I got around to "Don't Get Around Much Anymore," the last cut of the album, I had pretty well had it. But I do appreciate your thoughts on the album, CT. NP: I'm a fan of the Human Arts Ensemble in its various permutations: THE HUMAN ARTS ENSEMBLE LIVE, VOL. 1. Circle Records. Recorded live Holland, May 1978. I'm still not completely certain who played on this album. The album credits only Charles Bobo Shaw Jr on drums; Luther Thomas on alto sax; and, John Lindberg (misspelled Linberg) on bass. The picture of Lindberg on the back cover is amusingly postage stamped size, while the picture of Joseph Bowie on trombone is the same size as those of Gray and Shaw, even though Bowie is not official credited on the album. At the end of Side 1, Bowie is mentioned by the announcer, as is James Emery on guitar, seen in one of the photos, as part of the ensemble. Officially though, they are not part of the recording. Anyway, these guys really bring it here.

Alice in Chains Alice Cooper Alice in Wonderland

since hearing this for the first time in the early eighties still one of my chico freeman faves...what a fitting contrast beetween freeman`s loose playing and the tight rhythm section(s)......... MIne too, as ballad albums go this one takes some beating. It just struck me as a retreat from more adventurous possibilities, and since this was 1979, that was what was happening as the 80s loomed, with Chico individually, and a lot of others on the scene as well. Pretty but edge-less. Mellow but nice, yes agreed, that's what I was hearing, but that was not working for me the other day. Again, it just seemed there was a lack of edge and a bolder spirit. It sounded like surrender to me.

Harold Land H. Walter Landor Walter Savage Landor

Yes, that is a nice surprise indeed. In fact, that whole month looks superb, with residencies by Karl Berger, Steve Coleman, Ches Smith and Evan. Looking forward to it!