Steve Reynolds

Chuck - if I had a clue and the money and the time, I would love to do it. Maybe Not Two records will do it. First off unlike some other labels, their recordings actually sound like the bands do live. The quintet demands that they capture Randy Peterson in full volume. I'm afraid ECM would castrate the sound of the band. In fact the weakest of the Joe Maneri quartet recordings is "In Full Cry" and it is because it doesn't sound like the band and one wouldn't even know that Randy Peterson was in the band. Of course it is the one Joe Maneri quartet recording on ECM

I realize there is a Mat Maneri duo CD with Lucien Ban coming out

And yet Mat Maneri can't get his incredible quintet recorded and released Best band I've seen over the last couple of years and no CD

Nice post, Allen Many of my favorite improvisers put out way too many recordings Too many of them are poorly produced with sub-quality sound which is aggravating as a listener. When I stumble on the excellent recordings, it is more of a surprise than expected. And yet Mat Maneri can't get his incredible quintet recorded and released Best band I've seen over the last couple of years and no CD

plus Kevin, the only thing you might like more than two great tenors is two great baritones!! glad you went out and caught the show

I think the exposure to crap like Barney's theme has an effect on younger listeners. I do know that i grew up in a non-musical house where the only thing I heard up until I was 15 was probably the Boston Pops and whatever I heard on TV. the first music I listened to on my own was top 40 in the early to mid 70's and then by the time I was 15 or 16, I bought my first LP which was Creedence Gold so I was listening to VERY straight music. I remember being challenged listening to Traffic and yet intrigued and then captivated enough to buy the whole catalogue by the time I was 17 or 18. Many years later I remember the same thing happening when I first heard the voice and the music of Don Van Vliet and then a few years later hearing parts of the Evan Parker 50th birthday broadcast in 1994 wondering why the hell they are wasting airspace playing atonal soprano solo duets with some guy named Stebe Lacy that went on forever with no structure, no rhythm, no melody, or no semblance of anything that resembled music. So for some reason still as I heard a few more things that were out of the mainstream, I went to see the man live up close and personal. and it started the same way UNTIL he got to doing that THING with the tenor saxophone and Dresser and Previte tore it up - and within a couple of years I was all in . So my point may be is that if I heard Evan Parker growing up would have I become a listener early in life rather than at 40 years old? so none of really know, but we do need to try it out on a sample group fo kids.....

looks like a good show, Kevin

why were you surpised to see Michael Moore? because he probably plays more alto saxophone than clarinet? just curious

and probably the same for us! especially for those who have a distaste for the quote, un-quote outer reaches of music..... that music is much easier to be appreciated by those who don't know that it is supposed to be difficult to *get*

OK - received Long Story Short and all I had so far was on the way to work today so the question was for 40 minutes what do I choose? So I listened to the DKV plus which is Kent Kessler: bass; Hamid Drake: drums; Paal Nilssen-Love: drums; Massimo Pupillo: electric bass; Ken Vandermark: reeds; Mats Gustafsson: reeds - 11 minutes of something mostly soft turning into a different kind of onslaught ending with Mats on baritone moaning - nice so then I put on the following for the remainder of my drive knowing I will hear about half of the 51 minute piece: Peter Brötzmann: reeds; Bill Laswell: electric bass; Maâllem Mokhtar Gania: guimbri; Hamid Drake: drums and despite being unsure of believing the 2 reviews I have read that this would be amazing, I am sitting at my desk still dumbfounded by the first half of this turning it off as I pulled into the parking lot at work as Gania started singing again - having heard a few grooves I never thought I would hear Brotz play with, against *and* despite. Laswell and Drake rule the universe please for those who are still a bit bound up..... Let the Horse Go

thanks, and I remember it being a great one!

I'm not the biggest Matthew Ship fan, at times he is invigorating to listen to, while at other times he is overbearing and ponderous at the piano (as he was during the first 30 minutes of the Dunmall quartet during last June's Vision Festival). however, on the two occasions I've seen Michael Bisio, both times I came away knowing I'd seen one of the best bassists in that world of music- the last time with Avram Fefer last fall, he was pretty damn close to unbelievable.

now those above Prestige dates would be something I would buy in one great box set. At one point in time, I had about 90% of them and today, I own none of them. maybe the worst CD collateral damage of any artist outside of Miles and Monk I had from 2003 and 2004 when my CD collection took a large somewhat unexpected self-imposed beating/shrinkage...... I LOVE Blues Book and the live session with Dexter. I also loved the ENJA recording with Horace Parlan - anyone remember the name of it? It had the one long groove based track. I always found about 2 tunes on each record that i would like and they were always the fast/medium tempo with the long emotional solos and I never gave a wit that the solos were close to same as the last one!

I will get the 2 CD set with the two drummers when it comes out

If I remember correctly Mr. Fripp didn't say a word. I have always wondered if they continued to do the same thing at the other stops on the tour.

great Bill Evans story King Crimson in 1982 on the Discipline tour in Boston (at the Music Hall if I remember correctly) played probably the whole Discipline LP along with two older tunes - Red and Larks Tongue in Aspic, part II for the encore, it was *again* Larks Tongues in Aspic, part II ran out of tunes to play. I suppose - I was hoping they had planned to reprise Fracture fromt he earlier incarnation of the band, but it was just the two above tunes - very odd to hear it repeated, but if I recall it was still fantastic.....

Seconded! Greatest thing I've read in TEN years!!

Btw I am only half joking. It worked with my wife. Live jazz played by the greatest musicians I know with a great drummer in the band. In or out or way way out, it doesn't matter. Again the idea that if the kid doesn't like the old classics at first then he won't like jazz is a flawed thought. Kid or otherwise, some people get into jazz through Mats Gustaffson. A friend of mine came into the music through Brotzmann Not suggesting it is for a 10 year old but Hamid Drake live would work for anyone.

Bring him to The Stone in October and place him 10 feet in front of Hamid Drake Deal will be sealed

My point might be that whether it is a 10 year old or a 20 year old the assumption that the older classics is the way to introduce jazz to a new listener is flawed in so many ways that I won't begin to start to try to explain.

Must have some current jazz

Les Stances a Sophie

I thought it was about drug addiction

Blue Train: Love the Irabagon trio but not sold on the Ullman. That 2 CD set is easily the most disappointing of any of the not two CDs I ordered

Ordered the following: Long Story Short Jon Irabagon Trio with Barry Altschul: Foxy Barry Altschul Trio with Jon Irabagon: 3dom Factor Couldn't wait for the May 16th show. Wanted to wet my appetite for Irabagon with Helias and Altschul Btw Clifford, the Mad Dogs set is a must buy even though it isn't cheap. The sound is amazing and Guy selected primo performances based on listening to most of it a couple of times through.