Steve Reynolds

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

'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