Steve Reynolds

'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.......

I like Jackie's blue notes as much as any BN artist. Even more than Joe Henderson or Wayne Shorter. Maybe I like Sonny Clark's discs more

I had the mosaic 64-66 box many years ago

Didn't like News for Lulu Not a big Zorn fan either Never heard that trio record Never heard Ginger play jazz Still not sure i want to

I, for one, have never heard anything from Frisell that was interesting in the least. I tried 2 or 3 of the Lovano/Frisell/Motian trio discs I tried a couple of his discs I tried a few other discs with him on them nothing, nada that gets my juices going give me Mary Halvorson or Wes Montgomery or Grant Green or Ben Monder or Marc Ducret or I guess alamost any other guitarist first. it is all so fuzzy....

slow day at work - I decided I need all the Jackie McLean Blue Notes I no longer own inluding Bluesnik, New Soil, Action, Jackie's Bag, Destination Out and Demon's Dance plus then I would need Moncur's Evolution and Soem Other Stuff and then....who knows what else....I used to have them all but some bad shit happened to me back in the day and I had to pare down my CD collection.... I even started looking them up where to buy and almost bought all of them until I stopped myself

my wife throught she didn't like 'avant-garde' live, but she found out differently. She liked this past weekend's totally improvised show (2 sets) with Kris Davis, Mat Maneri, Drew Gress and Jim Black and that is two pretty abstract sets of music with Black only hinting at the driving rhythyms that is one of his hallmarks. She had seen him a couple of years back with Jenny Scheinman's band when Black rocked the Vanguard. I was thinking about a half hour in that she might not be able to handle it, but by the end of the first set, and especially by the end of the stronger second set, she was liking the piano and bass, really liking the drums and despite her futile resistance, in love with the great Mat Maneri. How anyone who has an open heart and open mind could resist his brilliance is still beyond me after all these years. without question, one of the truly great improvising musicians on the planet. awaiting my birthday concert on the 25th......

8-22-65 JACKIE McLEAN, alto sax; CHARLES TOLLIVER, trumpet; LARRY WILLIS, piano; JACK DEJOHNETTE, drums; WILBUR LITTLE, bass - almost the same band as on the BN recording Jacknife with Little in place of Larry Ridley. Freddie Hubbard is in place of Tolliver on half the album as well. 9-5-65 WYNTON KELLY, piano; PAUL CHAMBERS, bass; JIMMY COBB, drums; WES MONTGOMERY, guitar - obviously the same as the legendary Live at the Half Note on verve edited for reference to Jacknife instead of Action

the other must for me will be the new Paul Motian re-issue via a box set of the early ECM recordings.