Steve Reynolds

I've not seen Richard Davis live but I have seen Dave Holland, Barry Guy and Mark Dresser among others so.... I like me some hyperbole as well but long live Mr. Davis

Double post

Another thought.... When the whole horn section sang with Tristan Honsinger during their adaptation of Moten Swing, it was one of those moments that almost transcended reality.

And the band got a standing ovation and this is NYC - well Brooklyn, if you will, but in any event, rare here. First for those who haven't heard the band, they are essentially a swing big band with musicians who play the basics all the way to the most complex and sometimes outrageous improvisational. 3 clarinets at once go from seemingly obtuse freeish playing to melodic interplay. And then....they play the encore called 'Train Wreck' not sure who wrote it and it was gorgeous, swung madly and really simply featured them all with maybe Tristan a bit in the spotlight for a bit. And 10'feet in front of me, I could not keep my eyes and ears off the 5 guys that make up the horn section. Almost casually brilliant. Most know about Bennink's history and his mad swinging ability, and even though many of us know what he will play for the most part, the experience to feel his passion and joy fir what he does made this a very special night for my wife and I. And for her, her favorite show yet. Prayers for Misha if one prays (I do)

Wonderous 80 minute set. Opened with 'Thelonious' arranged by Misha which started out from some solo and duo improvisations where for about 5 seconds Ab Baars made his unique tenor sound known with an intense blast. They later played 'Criss Cross' with Michael Moore with a stunning alto solo that ended with some striking repetitive lines. In between we got a Basie/Honsinger/singing piece of magic, a Misha piece for string trio, an Ab Baars oblique composition, the always fun Honsinger conduction and let's see what else?!?!?! I forget the name of the well known Duke piece but as always they play Ellington better than any band since Ellington's. and when Ab Baars takes a tenor solo on a swing tune, well one has to hear it to believe it is possible. And Misha's Rollo was played in it's full glory. Maybe his greatest composition and it is so malleable and of course the band owns it. Wierbos and Heberer were a bit subdued but played often as a team. Tristan Honsinger, Mary Oliver and Ernst Glerum were great as they were last time as was the tenor playing of Delius. But along with Han, tonight was Michael Moore's night. On both clarinet and especially Alto, he played with the precision melodic beauty that is his hallmark. Maybe more later, but as expected a helluva show

Place filled up. Band is ready. We are ready. Han Bennink and the band is in the house!

ICP in 3 hours

Can't wait to hear it in modern remastered sound

'Special Detail' is the roughest of the Hemingway hat art quintet records and also the most driving. Not as accomplished as the somewhat later 90's recordings, but in it's own way a tremendous recording. Plus recorded drums do NOT sound better than on this CD. ever, anywhere by anyone

and ICP in Brookyn on Saturday night: Littlefield Performance and Art Space 622 Degraw Ave Brooklyn, NY Doors: 8:00 Show: 9:00 I be there by 7:30 I gotta get close to Bennink's kit - real close - and hopefully near the *great* Wolter Wierbos on the trombone - to this day, my favorite trombonist of them all. 'Drums are made for Swinging' from Han Bennink - spoken last spring at his 70th birthday celebration @ Columbia University and drums are also for quite a bit else, of course........

the playing on the Fo'Tet is quite good. has *anyone* here heard 'Special Detail'?

Just looked up his discography - and I forgot about that disaster, Bug Music - one of the worst recordings of the 90's

I remember years later when Romance of the Unseen came out on Blue Note with Jack DeJohnette on drums and one was thinking well maybeb THIS is the recording where he may touch the promise of the first record - or maybe even the brilliance that he exhibited on Gerry Hemingway's Special Detail from 1989 or so(on both clarinet *and* baritione saxophone), but, alas, it was pretty awful, no inspiration, typical middle of the road blue note sound of circa 2000, and not go on Byron again............. and if anyone can find Special Detail (hat art), BUY IT - maybe as good as the somewhat later quintet albums

I bought the Rogue Art trio 2 disc set 'Velvet Songs' with Ernest Dwakins, Harrison Bankhead and Hamid Drake and although much of music/performance is fine, I found the sound very poor with none of the depth from either Bankhead's bass or Drake's kit eveident in any sort of way. That experience has me shying away from other Rogue Art discs....

thanks for the comments, Ubu I agree that if that band would really let loose throughout more of the sets, that it would be more fitting to their name. Malaby also sometimes drives me mad with his sometimes seemingly obstinate refusal to simply play. The first few times I saw him, I was aghast at the seemingly incongruous (inorganic is an apt description) use of soft long tones and extreme (excessive??) harsh technique. In the end it is part of his sound and part of varied approach. I have found that within a set or two, I can hear playing that is uneven, uneventful or brutal along with saxophone playing of the absolute highest order. I have come to believe that his greatness comes from what he does and does not do. It allows the really good tunes/passages/improvisation to sometimes be great rather than him simply playing. and Rainey is great, amazing and exceptionally powerful when the band gets past the cuteness of some of it's tunes/arrangements.

Enjoy Open Loose, Ubu Let me know if Rainey destroys the world like he is wont to do from time to time! I should be seeing them again on May 24th @ Cornelia Street. Tell Tony if you get a chance that Steve who sees him often at Cornelia Street says hello!

plus Sonny Clark was a briliant composer while the other two pianists were not.

The Engines CD is on it's way from Poland as we speak and sorry Jeffcrom - I was able to see him once at The Knitting Factory with Paul Smoker, Adam Lane (I think?) and the great Barry Altschul. I think he played all tenor saxophone and it was 2 very good sets of music. Maybe around 1999 or 2000, I think

thank jah for that - I wish I had all the great Blue Note sessions I no longer have - I buy them when I can - but alas I am glad I am not a collector.... but I like to mostly buy music by living artists - often the ones I go see play live You will never see unreleased stuff released by a boutique label before you would see it on Blue Note itself. Given that Blue Note is out of the reissue business, it's time to officially give up hope. i was wondering though, how far this label (Music Matters) are prepared to go re- unreleased stuff. Seen as they are prepared to make their own albums now. Perhaps if the numbers add up and they see a potential release, they might lobby for it? Read my previous post. It will NEVER happen. Time to stop being a "fanboy" and start being realistic. Do you really think a label of origin would allow a licensing label to steal its thunder??????????? Actually. if they think there is more money to be made by franchising the catalogue out, including anything unreleased they probably would, in this day and age. I mean, so much of the Mosaic sets were out a good few years before the previous/latest incarnation of Blue Note prepared their own more user friendly versions. I guess the big point at this stage of the history, is really about whether any more so called 'rejected' sessions or tracks will see the light of day, as the changing of the 'gatekeeper' guard takes place in the future. Will they be made available to 'interested parties' to hear via electronic media, as has been suggested on this board in the past? Probably not. Blue Note and Mosaic are owned by virtually the same people. So, Mosaic releasing "unreleased" BN sessions IS the same as Blue Note releasing them. In the future, if there is a "changing of the guard" as you say, very few people will be interested in hearing the sessions you cite. All jazz fans will be long gone. Give up the ghost. There are literally tens of thousands of other jazz recordings for you to obsess over. good point JETman

bad flashbacks for me looking up a David S Ware thread from another board from late 2002 to early 2003. damn - I was more obnoxious than I thought possible

nothing like I was back in the halcyon days of the net...... I wish I could dig up my quote about the band Mujician something to the effect: 'the greatest improvising ensemble in the history of improvised music' plus I still believe it possibly outside of AMM......

and as far as I am concerned, Archie Shepp on his best day in his prime couldn't have touched the *great* Paul Dunmall on that night.

shoulda see a couple of friends of mine sitting next to me in one of the small rooms at The Knitting Factory maybe around the year 2000. The first set was Paul Dunmall on bagpipe with Paul Rogers on his newly aquired custom upright bass. second set had Kevin Norton joining on drums with Dunmall switching to tenor saxophone. All three of us agreed Rogers was incredible including the friend who was losing interest in jazz leaning towards small EAI type music (which is also a musical interest of mine) and the other who is a long time jazz listener from NYC who goes back to hearing Mingus in the early 70's. As far as Dunmall, the second set to this day is possibly the most powerful live tenor saxophone performance I've ever heard. The others thought things like poor man's Archie Shepp from the 60's to zzzzzzzzzzzzzzz so be it............ Poem About the Hero, baby

oops wacky quote of myself....

I really like the playing of Baron & Carter and I love the playing of the great Arthur Blythe when he is on his game. I had that disc back in the day and it did nothing for me. we all have different ears but as far as me not being open to different sounds, I have been seaching and listening to new music for years, but for whatever reason I havn't got into Bill Frisell. mayeb I start a thread about Papa Joe.......