Steve Reynolds

my wife says to me after the first set, she is not sure if she likes the bassist - what is his name Ray Schuller? I said it's *ED* Schuller and I told her he used to play with a guy named Mal Waldron in the 80's and 90's and I told her that guy Mal Waldron was a legend. my wife says something to the effect, well he's a bit dishelved and I don't think I like him......and honestly he was playing the house bass and it was a bit beaten and cracked, and what he played during the first set was pretty OK - but then again, with Mat and Randy in the band, hard road to hoe, I suppose BUT after the second set, she is asking me who else he plays with and I respond that he doesn't seem to play too much these days - and she wonders that it could *only* because he's a bit disheveled.... because for about 5 minutes his singing and humming with his gorgeous somewhat simple lines during a break from the below tune made it just alright to be alive to hear the man who Mal once referred to as the *great* Ed Schuller - something I don't think Mr. Waldron was known to say too often. ok - well GREAT to be alive and hear the masters of their universe.... and that was after the below..... well - about half way through what seemed like would be simply a typically very fine second set the second tune which started out as a somewhat typical slowish dirge with a kinda coolish bass vamp going on, that second tune morphed into a Randy Peterson inspired (as I believe Randy is the one who truly inspires Mat to do things with that little viola that are really not of this world) cataclysm of unexplainable brilliance. by that point, the table in back with the lady we all know was getting loud which inspired the leader to say something to the effect of "we can hear you too", then Mat announced they would play something called "Crazyology", to which Mr. Schuller said, he didn't think he was - or yet,,,, sound like a Charile Parker tune or something, I thought and then... so as they begin, it sounds a little boppish (and I remember maybe they played it or something like it last year with the Quintet), but this time, I almost throught Randy was going to pull an Art Blakey, and then from a zone outside of bebop or bop, he starts droppin his nuclear fucking explosion within the groove and Schuller is playing basically a PC/Sam Jones type of up-tempo bass line - and then...and Mat is simply inventing within a structure improvisations that no human can describe - I'd LOVE to hear a trained scholarly musician type try to describe it - so surely I cannot - no one to compare him to - and it's not just the instrument - can't compare him the Django and Mark Feldman or whoever else plays the vioin or viola...beyond comparison - in a certain sorta way, he is rock star without the star - he plays riffs that could be played over only once, and they might come back once more, but then always gone, always some other avenue that he goes down. it goes beyond that and by the time they cut the meltdown, off, Ed Schuller is humming and singing as I mentioned above. and they end the crazy tune, my friend and I are screaming a bit as it was worth screaming about - and yet that table was still yelling. as an aside. by this point over only a total of about 70 minutes - 40 minutes, Randy Peterson has taken 3 drums solos, the first with 10 minutes of the opening of the first set (the audacity - I don't know I have ever heard that) - and within 2 or 3 monutes in to that FIRST solo, Mat was into it, I was fucking gone AGAIN totally into it - and it wasn't an ego thing - it's just that Peterson is so damn exciting, he generates more tension with whatever the ehll he is doing, he does it with more aggression, more intensity - and the sound and the volume when the little kit explodes is beyond what you could ever hear on any recording of him - even the great Joe Maneri quartet records on hat. so Mat says let's do a 5 minute free piece, it ends up maybe 10 minutes, it's more incredible than even Crazyology, the end, I'm dying, Mat bids everyone a good night, not too short, I want more, more isn't coming, loud lady gives Ed a hug, he might be running away - Mat keeps his cool - he took what was happening and directed something that raised even his level of brilliance in short (15 minute?!?) spurts to the highest level of jazz based improvised music that my ears know to exist - and my wife - no jazz fan, said it was good as ICP - qwhich was the best ever except for Hamid...so she still thinks it would work on TV - even though there were probably 30 of us listening hard last night. on the way home, my wife again asks, how does he get that sound out of that little viola - he's like the greatest guitarist in the world - and indeed he is, he just plays the viola.... and on my birthday, it just brings it ALL back, one see his dad in his smile and in his eyes and his beard, but where he is as far the music is on a different plane that when he played with his dad. This is Mat's music now, it is more beautiful and yet more ascerbic and gritty at the same time today - and as much as I liek the band with a saxophone and/or a piano or vibes, seeing the trio only is the purest way to hear Mat's voice as inspired by the great long time drummerpartner of the Maneri's along with a voice on the bass that just makes it work like it should. Let The Horse Go

no words yet besides that I can tell you that my wife, my pal Travis and myself experienced two 40 minute sets from a few feet away trying to put my thoughts, feelings, emotions and even my physical and primal reactions to whet I heard and saw last night into something that might give someone who wasn't there an idea of what this music that I still call Maneri music is all about.

3 hours! cannot wait, out of work in 15 minutes home to GW bridge - west side hwy - 9th avenue south - to bleeker - find a spot to about 8 feet from the bass drum of the undefinable, irreconcilable, and certainly indescribable might and anti-groove groove of the *great* Randy Peterson.

my favorites are Focus then Anniversary and Serenity

Dunmall-Grimes-Cyrille GREAT!

Dennis or Denis Charles???

Cornelia Street Cafe, NYC my favorite spot you *have* to find them..... well Joe was born in 1927 so maybe a bit later but maybe the late 40's. I have a few Papa Joe stories as well....

Thursday, Apr 25 - 8:30PM MAT MANERI TRIO Mat Maneri, viola; Ed Schuller, bass; Randy Peterson, drums This concert will be the 20 year anniversary of this contrapuntal trio who will be playing a collection of music from their past 3 recordings as well as new material. The trio have worked together over the years to try and push the boundaries of what a jazz trio can be, incorporating fresh ways of interpreting modern classical, swing and other forms of music.

I think Kent Kessler deserves to be in the sequence

'Nova' second track on Jon Irabagon's trio recording with two guys I never heard of: Hernani Faustino on bass and Gabriel Ferrandini on drums. Irabagon is on alto for the whole recording Nova is alto with bass and maybe a cymbal or two by the end. Gorgeous Fwiw Irabagon's use of circular breathing if I'm hearing what he is doing correctly is quite organic when he employs the technique But track 2 is maybe most remembered on first listen due to the subtle bass improvisation morphing into a simple repetitive slow vamp by the end Also note the whole recording is freely improvised And again the sound quality is way beyond most anything I've heard released on more well known labels over the past few years On Not Two records

Good post lost which is a good thing as it might have irritated more than enlightened.

Me always wishing it would be much less of more of the same as well, Allen I was complaining about the same thing ten years ago

Allen - this is the 2013 schedule that was posted today

I be there Wed & Friday Like the last band on the opening night save for one thing....one can guess..and I have never seen Roswell Rudd in person. Look forward to seeing/hearing Milford Graves and Louis Sclavis. I have only seen Graves once and have never seen the great clarinetist. I would like to see Roscoe Mitchell but I can't do three nights in a row. Saturday night is OK with the nice trio of Davis, Revis and Cyrille and Workman ensemble.

Wednesday June 12th, 2013 Day 1 - Milford Graves Lifetime of Achievement Award 7:30PM - 8:30PM - Afro/Cuban Roots Milford Graves - drums David Virelles - acoustic piano Román Díaz - percussions (congas, batá, drums, añá), vocals Dezron Douglas - acoustic bass Román Filiú - alto saxophone 8:30PM - 9:30PM - Transition TRIO Milford Graves - drums D.D. Jackson - piano Kidd Jordan - tenor saxophone 9:30PM - 10:30PM - NY HeART Ensemble MIlford Graves - drums Charles Gayle - tenor saxophone William Parker - bass Roswell Rudd - trombone Amiri Baraka Thursday June 13th, 2013 Day 2 7:00PM - 7:30PM - Maria Mitchell / Terry Jenoure Maria Mitchell - dance Terry Jenoure - violin 7:45PM - 8:45PM - Roy Campbell's Akhenaten Ensemble Roy Campbell - trumpet Bryan Carrott - vibes Jason Kao Hwang - violin Hilliard Greene - bass Michael Wimberly - drums 9:00PM - 10:00PM - Rob Brown's U_L Project Rob Brown - alto saxophone Joe McPhee - trumpet, saxophone Miya Masaoka - koto Mark Helias - bass Qasim Naqvi - drums 10:00PM - 11:00PM - Roscoe Mitchell Trio Roscoe Mitchell - reeds Henry Grimes - bass Tani Tabbal - drums Friday June 14th, 2013 Day 3 - A French-American Connection 7:00PM - 7:30PM - VOCAL-EASE Steve Dalachinsky - poetry Didier Petit - cello 7:30PM - 8:30PM - Bern Nix Quartet Bern Nix - guitar Francois Grillot - bass Matt Lavelle - trumpet Reggie Sylvester - drums 8:45PM - 9:45PM - East-West Collective Didier Petit - cello Sylvain Kassap - clarinets Xu Fengxia - guhzeng Larry Ochs - tenor sax Miya Masaoka - koto The East-West Collective has been made possible through the French-American Jazz Exchange, a joint program of FACE ("French American Cultural Exchange") and Mid Atlantic Arts Foundation, with generous funding from the Cultural Services of the French Embassy, Doris Duke Charitable Foundation, Société des Auteurs et Compositeurs de Musique ("SACEM"), Florence Gould Foundation, and Institut Français. 10:00PM - 11:00PM - The French-American Peace Ensemble Francois Tusques - piano Louis Sclavis - clarinets Kidd Jordan - tenor sax William Parker - bass Hamid Drake - drums The East-West Collective has been made possible through the French-American Jazz Exchange, a joint program of FACE ("French American Cultural Exchange") and Mid Atlantic Arts Foundation, with generous funding from the Cultural Services of the French Embassy, Doris Duke Charitable Foundation, Société des Auteurs et Compositeurs de Musique ("SACEM"), Florence Gould Foundation, and Institut Français. Saturday June 15th, 2013 Day 4 - afternoon 2:30PM - 3:00PM - York College Creative Ensemble 3:00PM - 3:30PM - Achievement First Middle School Band Day 4 - evening 7:30PM - 8:30PM - Tomas Fujiwara & The Hook Up Jonathan Finlayson (trumpet) Brian Settles (tenor saxophone) Matt Moran (guitar) Trevor Dunn (bass) Tomas Fujiwara (drums, composition) 8:45PM - 9:45PM - Davis/Revis/Cyrille Kris Davis - piano Eric Revis - bass Andrew Cyrille - drums 9:45PM - 10:45PM - Simmons/Burrell Duo Sonny Simmons - alto saxophone Dave Burrell - piano 10:45PM - 11:45PM - Reggie Workman's WORKz Reggie Workman - bass Marilyn Crispell - piano Odean Pope - tenor saxophone Tapan Modak - tablas Pheeroan akLaff - drums Sunday June 16th, 2013 Day 5 - afternoon 3:00PM - 5:00PM - Panel Discussion - Building the Future of Creative Jazz 5:30PM - 6:30PM - Butch Morris' Black February A film by Vipal Monga Day 5 - evening 7:00PM - 7:30PM - Inner City - Migrations Miriam Parker - dance, choreography Jason Jordan - dance Hamid Drake - drums Jo-Wood Brown - art Robert Janz - guest visual artist 7:30PM - 8:30PM - Positive Knowledge Oleyumi Thomas - saxophone Ijeoma Thomas - voice, words Henry Grimes - bass Michael Wimberly - drums 8:30PM - 9:30PM - Hamiet Bluiett & Friends lineup TBA 9:30PM - 10:30PM - ARC Trio Mario Pavone - bass Craig Taborn - piano Gerald Cleaver - drums 10:30PM - 11:30PM - Marshall Allen & Christian McBride BASS ROOTS Marshall Allen - alto saxophone Christian McBride - bass Lee Smith - bass Howard Cooper - bass

Wow

All arrived today. To check the sound played snippets of Parker-Guy-Lytton and it sounds awesome. Puts every clean feed CD I've bought to shame. Engines based on one track equally great sound The Amado has the best recorded Gerald Cleaver in existence. He finally sounds like he does live. Diggin in as much as I can over the next few weeks to all of it.

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