Steve Reynolds

I need to hear Mat Maneri again one of these days many time when seeing him with his late dad, the *great* Joe Maneri, he would play some of the most amazing stuff glad you enjoyed the music wish I cold catch the final night tomorrow - but the memories from the 2 nights I caught will be with me for a long time

I know he is - my point is he is 40 in his physical abilities and 65 in experience.

well well.... just arrived back home First set was the trio Evan arrived with only the big horn we were right up front in the 2nd row - with my friends William & Travis - and Pete Cherches & Don to my left. I was ready to go about 7 this morning - and I was concerned about my high expectations - I don't like to be disappointed. They played about 38 - 40 minutes to start - with the first 10 minutes or so felling their way around each other. This portion ended with a longish softer portion that a bit anti-climatic - before that the band hit heights that are not possible for normal musicians - with Evan incorporating much circular breathing into his improvisations. Wonderful stuff - thinking that this is what I came here to hear. Then they played more - almost a blues vamp somewhat reminiscent of Jimmy Lyons playing over Ronald Shannon Jackson & Sirone in Cecil's 1978 Unit. Pinching myself to see if I was dreaming Evan hitting phrases that come from somewhere else - seemingly inhuman - maybe beyond his normal almost routine brilliance and Dresser and Hemingway are married so to speak - so it was becoming increasingly hot and intense for those next 10 - 12 minutes until they finished in what seemed like a untoppable peak. They then decided to pay a short piece - which for about 4-5 minutes they played the most intense short powerhouse Hemingway driven onslaught I thought was ever possible - and I was screaming just a little bit more on the inside than the outside - I stood up before that but I could barely leave my seat after that display closed the trio's set. lordy lordy We quickly got on line outside and when we entered the space one more time this time we moved to the side seats where we would be about 5 feet from Evan and his tenor facing Dresser with Herb Robertson on the right. First 10 - 12 minutes was softer and more intense than any of the softer passages during the trios' set with the master trumpeter adding everything to the band - Hemingway for quite some time played a little bowed thing - and it was pure genius - then Herb picked up the valve trombone and the band proceeded to smoke out the fucking world for about 10 more minutes - like nothing I have ever heard - mind fuckingly awesome - some more softer stuff - lots of gorgeous Dresser playing with Evan stopping to hear - and taking his time building to a strong climax - they stopped about 25 minutes in. They started the second piece almost in the blues vein again - but with a different vibe with Hemingway playing at what seemed to be a higher level bringing all kind so different sound and rhythms to the music - my best friend Willie is gone in his head knowing now that Gerry Hemingway is the greatest drummer he has ever heard - seeing him for the second time this year - and all 3 of us knowing we are hearing something beyond music - and then... and Travis plays bass and he wants to play free jazz - He has never heard a bassist like Dresser - I think he might have bought a Dresser solo record - this is young guy who came this music in the last year...... and then...... it got intense - louder, more intense that even the end of the first - Hemingway destroys the world, Evan is 40 years old - at the peak of his powers - and dreams came true - far surpassed my very high expectations save for possibly the last Brotzmann Tentet show with Drake maybe in 2000 or 2002, the best musical experience of my life. I shook their hands - thanked Evan Parker for being here and telling him he is my favorite musician in the world and I look forward to seeing him on Friday... and I didn't see Gary Giddens at the show..... maybe someone will clue him in one day as this was the free jazz night for his stay - and maybe the other nights with the drummers will bring out this fire as well - but this was jazz - not my father's jazz, maybe they have been playing this stuff for 30 years - but this is timeless stuff that is still original and gone into the air..... Standing on a Whale Fishing for Minnows

only a few words - well maybe a few more than that - only stayed for the first set - although my wife wanted to try to sneak the second set in for free..... with: David Murray - tenor sax Marty Ehrlich - alto sax & clarinet Mark Dresser - bass Andrew Cyrille - drums 3 long versions of Comin' On a tune with the word "pain" in it Crooked Blues I have all of the above except Bradford but it has been a long while for Murray and even for Ehrlich it might be 7 or 8 years Bradford is a beautiful player in the mold of Don Cherry with some of Joe McPhee's stylings as well - understated and very tasteful The tunes are what I expected - theme - solo - theme with interjections by the horns - not formulaic if you are coming from the world of straight ahead - I am so much less jaded than I have been in the past - so I was not dissapointed in the tried and true approach but the news is for those who *still* don't know about some of these guys - especially Dresser & Ehrlich - methinks they might wanna better get to know Mark Dresser is a ruler - never touched the bow except during a short intro during the second tune - but lordy lordy I *almost* forgot what this man is - Cyrille and Murray were and are Cyrille and Murray - wonderful musicians in their element here - but this is Dresser driving the band - making it go through subtlety and extreme power where this sort of music does not always go - the 2 duet sections with Bradford & Ehrlich (at the start of his clarinet solo during Crooked Blues) were what the best jazz is all about... and Ehrlich's clarinet solo was the easy single highlight of the whole set - he is better than he ever was - and he was always just about as good of a musician as walks this earth...and the guys across from me might have been surprised that this dude played the blues beyond - and the guy across from I think reacted to some of Dresser's SICK fucking playing with a few visceral grunts of what might be considered awe - unless i was wrong because I didn't say a word to him. Gary Giddens was on my left and I said a couple of words but thankfully resisted to let him know that I knew he would ignore Evan Parker's visit over these 2 weeks...anyone remember the quite obnoxious me (right of course - but self-righteous and opinionated as I am - a bit disgusted that this bright learned critic of this great music barely knew the man existed or what he is... but the guy who sat down with a friend opposite my wife and I - I couldn't believe it at first - I looked over to Cherches and he was smiling ear to ear... and guess who was eating dinner 2 feet from me?? and I didn't say a word to him - the one and only Stanley Crouch methinks he denies Mark Dresser is the greatest bassist he might have ever heard but methinks he knows it is the great man plus a handful of other - dead or alive - that could fit that moniker... Dresser played it all - all through the set and I think he is just warmin' up... Mark Dresser rules and tomorrow we step it up even a little more as he joins his real element - with his long time partner Gerry Hemingway and the great man on tenor and alto... they might be all over 50 - but jazz lives - place was packed and I think they all loved it - all musicians who play from their heart and soul out - and another reward for me in more ways than I can express here for getting my life back almost 5 years ago... fwiw - John Carter's vibe could be felt in the room...and I thought of him when Marty picked up the clarinet - and yet Ehrlich plays nothing like the late great master, too me it was the closest thing I would ever come to hearing and feeling his spirit.... Shadows on the Wall, baby

an aside - Benny Powell was sitting 3 seats to my left tonight at the Bobby Bradford show in NYC He is playing with the Octet tomorrow night He is looking sharp and ready to go... I also saw Randy Weston in the late 90's with Powell among others - great show

fired up that Evan is here seeing Bobby Bradford with Ehrlich, Murray, Dresser & Cyrille tonight and then tomorrow with Hemingway, Dresser & Herb Robertson for the 2nd set seeing Susie Ibarra & Evan on the 9th trying to see Evan with Cyro Baptista & Chris Corsano on the 13th would love to see Dave Holland with Evan on the 14th - nothing that Mat Maneri is added with a cellist for the 1st set on the 14th

you need to see Mauger if you have never seen Hemingway & Dresser I am seeing the 2 of them with Evan Parker tomorrow....

no one from this board going? opportunity of a lifetime for anyone near NYC

opportunity of a lifetime to see one of the grand masters with some great partners: starting 10/1 full calendar @ http://www.thestonenyc.com my shows will be with the great Mark Dresser & the powerhouse drummer Gerry Hemingway with Herb Robertson added for the 2nd set on 10/4 with Susie Ibarra and then with Cyro Baptista on 10/9 then with Bill Laswell and 2nd set with the dynamic Chris Corsano dueting with Evan for the 2nd set on 10/13 might be there for duets with the legendary Milford Graves and 2nd set with the master improvisor/inventor/trombonist George Lewis on 10/3 another great night is 2 sets with Dave Holland on 10/14 a nice present for us and him for his 65th birthday year seeing the great saxophonist back around 1999 @ The Knit changed the way I heard the tenor saxophone - and as far as his soprano playing - that is a whole different universe.... Natives & Aliens, baby!!!!!!!!!!!!!

Captain of the Deep is a great recording on eremite - from 1991 - awesome sound and the performances of a lifetime by the trumpeter Breedlove. there are couple of terrific trio records with Wilbur Morris and Thomas Borgmann Billy Bang's Valve # 10 is splendid recording with Frank Lowe and Simone rounding out the quartet from 1988 or so.

He told me John Coltrane called him..... He also told me he thought his music would bbe HUGE!!!

The music of the great man, the Round one is indeed visceral, human and pungent in the extreme. "Dahabenzapple" is one the great statements in modern improvised music. I told Mat on the 1 or 2 occasions we had a word back int he days when Joe and the band would make fairly regular appearances in NYC (from the late 1990's through 2005) that one day if it is heard by enough people that Dahabenzapple could be heard as a composed piece if looked at that way. It is actually 3 long pieces with no apparent structure at first glance but it is very refined and structured in retrospect when heard many times. for me he is what life is all bout - lost dreams he told me back in the 1960's "The BIG GUY called me up once and said he heard something of mine and wanted to get together - but it never happened. You can guess who the big guy is or waxs - he died at 41 and Joe never played his first real improv gig until he was well into his 60's - so dreams often die young. I saw his first gig in NYC with the quartet in 1998 or 1999 with Cecil McBee, Randy Peterson & his son Mat. They played an hour of Maneri music with an encore of Body and Soul which was Joe on the paino and Mat on violin - In Full Cry for sure nothing mattered in the world. RIP, sir... Get Ready to Receive Yourself

Mouth Eating Trees and Related Activities is simply one of the great improvisation recordings ever. with Mats finding his voice. Dynamics are at a premium - the 4 minute solo intro would be worth the price of the record.

posted somewhere else - I feel strongly enough abou this recording to hope to have it find maybe one more set of ears... recorded 10/3/2006 Barry Guy - bass Mats Gustafsson - tenor sax, baritone sax, flutephone Raymond Strid - percussion thanks, Jason the earlier recording with the trio was recorded ten years earlier - I guess I thought there may never be another one. It seems Mats has recorded more with The Thing than anything else. The earlier recording - as well as the even earlier Mouth Eating Trees and Related Activities (with Lovens in place of Strid) were of a piece where upon discovering them, I had no IDEA what I was in for when it came to what Mats was all about. On the new one, we hear a more accomplished Mats where due to his overwhelming prescence, it can be a wonder and a detriment. The energy level of his playing can be so pervasive that I can almost not hear the interplay of the trio - but this is a small issue - it is only an issue if one is so jaded that one might think that there is no room in the ouvre of jazz/improvised music for improvisation like this. And what is improvisation like this - I think this is proof that the beast lives energy lives - the first 27 minute track features the tenor - certainly the dynamics have changed from the earlier recordings as Mats is more up front and certainly more able from a technical aspect - some might actually come to hear him as being able to play this shit in his sleep - or just another day at the office - but it is *his* office - nobody else can touch this - the only guy from the past who got to these types of energy levels was Brotz - and here we hear a 42 guy at the peak of his physical powers sometimes even understandign that he doesn't have to tear every spec of paint off the walls - but I am able to soak it up when he does or he doesn't 2nd track is a highlight - 9+ minutes with the still mysterious flutephone - fades slowly - then the third track with extreme bari - which switches to the tenor half way through - maybe the most rote track - the 20 minutes is solid - let me tell you more a few more listens in incidently Guy is so great that he is *still* the reason this music works - we know Lovens made this work although it was 1992 - and Mats was a baby - and mayge there might be another drummer who can play with such detailed energetic precision - but there is only one Barry Guy - this is totally improvised music - but it is a certain band and it has a certain sound and purpose - another bass player and it is more like AALY or The Thing - which are *nothing* at all like this - they are song based and IMO would never work as improvising units,,,I digress,,, but track 4 - the closing 9+ minutes - here Mats contains himself for 6-7 minutes - playing slight variations on a riff on the big horn - until he *cannot* contain himslef - and it doesn't seem trite when he does pierce the sky - it *is* majestic and Strid almost swings - maybe this is rock n' roll - and the band goes to heaven - and the crowd exists - didn't know it till the end - oh glory be,,,,, and yes - this would be the trio to see live if there would ever be the chance for me - this is a dream to one day be realized, I hope and yeah,,,,, You Forget To Answer more,,,, more will be revealed,,,,, had to play the second track twice in a row the third time through the record - is this trio this good? I think yes - I think they have all gotten better from 10-15 years ago - and to counter those who may jaded as in what is the point, this music is the same as it ever was - and of course, jazz is dead - and this is same thing as the first generation of euro improvisors - phooey on you - your minds are letting you believe the lie - and you be missing out on these ginats who walk this earth,,, yeah baby,,, and the third track is anything but rote - i don't know what the hell I was hearing 2 times through - after the third listen, I hear more slience, I hear more sophistication from Guy and Strid during the softer moments - and I hear more restraint and exactitude from the great saxophonist throughout. with more restraint - and this is realtive knowing who we are dealing with - comes more power. and one must hear this recording for the final minute - but the final minute of the whole thing must *only* be heard after hearing everything that precedes it. Mouth Eating Trees,,,,,, this trio needs to tour the northeast USA sometime soon - sometime ever - sometimes a dream is a dream

Mark Sanders is my favorite drummer alive I was fortunate to see his only U.S. performance ever in 2001 with Evan Parker, Tim Berne and Drew Gress. 12 people? the world of music listeners has no ears for true greatness

an oldie for me recorded 11/13 & 14, 1982 John Lindberg: bass George Lewis: trombone Barry Altschul: drums, etc on black saint Lindberg as a relative youngster (about 24 years old) joined by the 30 year olf genius of the trombone and the relative veteran of jazz at the time, master drummer Barry Altschul four concise/incisive compostions by the leader with one each from the other members of the trio. would love to hear some comments from the members of this board from those who know this one. Has long been one of the classic post-Trane recordings in my mind. Stunning sound, stunning and exuberant playing by all, and it has that joy of newness and discovery that can only exist on a selcted small percentage of jazz recordings. An added bonus is that it is a recordings that fits no category - as it it isn't in, it isn't out, it simply is what it is.

Parker-Edwards-Sanders: The Two Seasons -------------------------------------------------------------------------------- Disc 1 recorded 2/15/99 Disc 2 recorded 7/28/99 In London live @ The Vortex Winter and summer Almost all of 2 sets that were played each of those nights Evan Parker: tenor saxophone on all but one 17 minute section during the later session John Edwards: amplified double bass Mark Sanders: percussion (mostly drums and cymbals) On a whim I looked for a review or two on this recording this morning and found a middling one @ AMG that made me think that the reviewer certainly didn’t listen through the whole thing “One thing sure, there is less fire, less sparks in these recordings than on other recent releases from the saxophone legend” Now one could say many things about this recording, but I would doubt that this would be something that one who made an effort to engage themselves in this set would write. Then again, who knows how many reviews the reviewer writes on a daily or weekly basis. As some here know, this has long been a favorite of mine. It was my favorite recording when it was issued (maybe in 2001). This was before I had any real exposure to other music that has since become a prime interest of mine. It was about 2-3 years into my interest in Evan Parker’s music. I had little or no awareness of John Edwards. I had listened to Mark Sanders through John Law’s 1992 recording “Exploded on Impact” and a couple of John Lloyd CD’s with John Law from the mid 90’s. I had become entranced with Parker after seeing him live in the basement at the knit somewhere around 1999 – with Mark Dresser and Bobby Previte. I remember that I got the last seat available and that Parker hit some sort of peak on tenor a couple of times throughout a hourish set with the bassist and drummer playing with or without him. And as great a bassist as Dresser is, and as fine a drummer as Previte is, I doubt if I heard a recording of that set today that it would be anything more than a decent set. Based on what Evan Parker is, that is – if I had known at the time. Still seeing this man play a tenor saxophone - and the tenor is still *it* for me – the other horn is surely wonderous in his hands – he did invent a new language on this horn – but I often think his circular journeys to places no one else even ventures to are more an exhibition than a delivery of what rocks my soul - and his playing on the soprano is of a different purpose and a different strength that what comes out of the tenor saxophone. When Evan Parker is playing music that comes from his original inspiration (seeing Coltrane as a very young man live @ Vanguard circa 1961) this is when heights can be reached that are a bit beyond description. Part of what happens on this disc is beyond words. I had lent this set out to a friend and had not heard it in about 8-9 months. First off, the winter set has it’s moments of great intensity – and this is concentrated improvisation that is as close to the free jazz idiom as Parker and his mates will ever get. There is very little circular stuff on either horn – and as stated above, it is all tenor – even the soprano portion during the summer sets includes very little of his circular breathing – fact is Sanders hits the bass drum (I think?) so hard during part of his breathing deal that one almost might think it means stop and let’s get back to the skronk. And there is more than a little skronk. But is more than just power. The first disc hits some peaks during the second portion (the recording is based on almost all of for forty minute sets – where the music was played continuously and only broken up on record for listener convenience) – and the key force throughout this music is Mark Sanders. We know what Evan Parker is – we know that his technique and capabilities by this point in his career (55 years old – playing forever in his own journey to wherever) – some also feel that because of what he is capable it is very easy for Parker to just play – it is almost too easy for him to do what he does – even though there is really no one else capable of playing what he plays – really no one who has ever played what he plays. But the real peaks happen in the summer – some during the first third of the 80 minutes – and then the beyond – after the soprano section – after Edwards shows us that he is the skronkiest – earthiest bassist in improvisational music – and when we hear him recorded up front like this – when we as listeners become thoroughly engaged – we hear Evan Parker and Mark Sanders take “high energy free jazz” to the fucking Vortex. Really beyond the comprehensible – if we are talking of music made by traditional instruments – of a formula – within a formula – but beyond what should be possible within relatively standard operating procedures – where we hear drums-bass-tenor, this is not of the AMM to the egoless stream of way of doing things – this is clearly post-Trane free jazz with a drummer and bassist and saxophonist who have made this music clearly their own – and if those who come from the places that is more out of Ayler-Wright-Lyons-Lowe-Mateen-Ware – and those who have played – or play with them, they might not recognize this music being as close to that tradition as it is – but when you have a bassist who don’t sound anything like guys like Peacock, Grimes, Hopkins – and drummer who has nothing coming from Murray or Graves – a drummer who comes more out of Oxley, Lytton, Lovens or even Stevens – but even sounds nothing like those guys – he comes out of nowhere and creates the most monsterous and intricate base that exists on any free jazz recording I have ever heard – and he creates it here – and it is different in intensity, volume - the biggest ability is his restraint – he can play louder and with more power than any drummer there is – but he makes one wait for the biggest impact – listen to those last 24 minutes – but listen to the previous 130 first – and experience this. Never higher, never greater A set of this intensity and greatness gets played by anyone at a Vision Fest, it would be historic. Mark Sanders would be known as one of the giants in music – too bad he probably again won’t be heard live this year on this side of the pond – as far as I know, the only time he ever played an improvisational gig in the States was on 5/16/2001 with Parker, Berne and Gress. Best Evan Parker recording I own – or have ever heard – lack of fire – dude isn’t listening – it may be that we know the context of what these guys will play – what we don’t know is how they can play with intensity that we think has already been achieved –and then – 10 or 15 minutes later, it is at a different plateau - *this* is truly the wonder of what Evan Parker is capable of. It isn’t the blues, it isn’t really anything other than a personal exploration into what this music can make him or the interested listener feel. And nothing has even made me feel like this recording makes me feel – nothing musical that is Thank god (jah) I am alive in *my* new summer to experience it once again peace and blessings

I'll post a couple of my reviews of Parker recordings here: Recorded 1997 Released a few years back on Parker’s PSI label Evan Parker: tenor and soprano saxophones Barry Guy: double bass Paul Lytton: drums/percussion When I bought this when it was released, I was on the way out of my mind – and my patience was wearing thin for all things everywhere – and it seemed that this was simply more of the same – maybe like the “50th Birthday Concert” (1994) set with the trio, or a newer version of “Atlanta” (1986) – but not on the level of the incredible “At The Vortex” (1996) My initial impressions were something on the order of why they (he) would release this. Then again, I couldn’t really gather the patience for anything musical by the time I bought it. First off what is the a purpose for Parker-Guy-Lytton trio today 25 or so years into the partnership? And this recording is from 1997, not today. I saw a similar trio (with von Schlippenbach in place of Guy – in NYC ) on their North American Tour in 2003 – of which there is a 2 CD set that I havn’t heard. Thye were pretty damn great, I think, but I wasn’t in as involved with music as I once was – so maybe the arguably formulaic nature of the music was more in my head than it was in the music. Or maybe the formula isn’t important. I know some people here *used* to love this music – and now have moved on to more “cutting edge” or newer forms of music – mostly not jazz And for some, is this jazz? I think it is – in fact, it is – but for those who don’t think so – from the laft or the right – so be it – not that important. So what happens on this disc? An opening 12 minute tenor-bass-drum improvisation – similar to what has been heard before – but some internal snarling intensity – especially from Parker and Guy has me revisiting my past musical experiences – the 10 minute (almost obligatory?) feature with Parker on the soprano – which always seems to feature some sort of circular breathing exposition – ok – some nice things – but the most moving aspects are when he plays the soprano in a manner close to his incendiary tenor stylings. The centerpiece follows – a 38 minute (maybe a whole set? – this stuff is usually played in shorter than normal sets – it is pretty damn intense – especially for the unitiated – well I’ve had the thing up loud, and here no different - the Guy/Lytton dialogue about 15-20 minutes is is crunchy, gripping and has me soaring in my head – Parker returns – some oraganically played circular stuff on the tenor – and some of the most intense, squirrelly and beyond fucking possible FREE jazz playing ensues over the last half of the piece. Well if this is rote, some people can get jaded to true greatness. I understand why – this is the same stuff they have played and will play – but I argue against the bailey thesis that after a while – what is the point of playing with the same guys in a free improve settings – I say it does still qualify as a surprise – maybe only on the margins – but maybe that is not why they exist and play in this format to this day… A little 5 minute snippet follows – seems to pick up the playing in progress and leaves unnaturally – but listening to it loud and intently one hears the reason for music of this sort – when this trio hits this type of pinnacle, there is no band that comes near this balls out intensity – doesn’t exist – and it exists in the margins of what is music of this sort. Parker plays some runs and lines on the tenor that simply come nowhere near existing on anyone else’s horn. The 7 minute closing track starts with Parker out – and builds to a seeming conclusion until Parker plays the closing 30-40 seconds into an ending that defies logic – it can’t exist. But it does Still my guy – like nothing else in this world And this new guy needs to see him with this trio – just once in this life The Ayes Have It, baby

since the Flaherty/Corsano disc was mentioned, I figured I'd paste my recent review here for those who didn't see it elsewhere: Paul Flaherty-Chris Corsano: The Beloved Music -------------------------------------------------------------------------------- Recorded May 4th, 2004 in Louisville, KY Paul Flaherty: tenor and alto saxophones Chris Corsano: drums On Family Vineyard (FV39) I received a copy of this from Eric Weddle who runs the family vineyard label Having never heard either of the participants and being in somewhat of a funk as far as listening to jazz for a variety of reasons (which will follow) I didn’t have much hope that I would be in the mood for this. The reasons being that I am: 1) currently obsessed with listening to Can’s first 4 recordings in a very compulsive way 2) my recent obsessive listening to erstlive 005 (maybe through the whole thing 5 times within 2 weeks) and my obsessive listening of the first disc from the Cloud 2 CD set 3)Not feeling too good about anything over the last 3 or 4 days – infact kind of struggling with acceptance over many things (including myself) over the past few weeks has me in a bit of a rut – and when I’m in a rut, sometimes, I can’t egt with anything different – and even old favorites don’t quench my thirst. Every time I do start to listen to jazz over the past few weeks, I am not seeming to be in right space for it – even Miles/Trane from 1960 or Dunmall’s Ghostly Thoughts or Hemingway’s The Marmalade King – none were doing it for me. So feeling full and a bit blue after eating lunch today, I had an empty 45 minutes before going back into the office – so I put this on expecting something on the order of Frank Lowe/Rashied Ali type of thing – or another screaming saxophonist with a bashing drummer doing their version of the sax/drum duo inspired by Interstellar Space 40 years hence. In the past as many know maybe my favorite jazz/improve format has been variations on the sax-bass-drums trio. Some of my post-Coltrane incarnations have been combinations such as Wilkinson-Fell-Hession, Parker-Guy-Lytton, Anderson-Parker-Drake, Brotzmann-Parker-Drake, Brotzmann-Hokins-Ali, Gayle-Parker-Ali, Dunmall-Rogers-Norton, Lacy-Avenel-Betsch, Perelman-Duval-Rosen or anyone with Morris and Charles.And anything with Peter Kowald and a good drummer and a good saxophonist – the Anderson trio set with Drake comes to mind as a very fruitful and rewarding listen. I think most of you who don’t know me get a bit of the point. In fact, if I go back about 3 or 4 years, I might have been as fanatical about much of this sort of music as anyone who posted here. However, besides a few things like the Parker-Prevost duo, “Most Materiall”, I often found (and find) sax-drum duets (especially) blow-outs lacking in variation and dearly missed what the great modern bassists often bring to these occasions – really always the glue that would give what otherwise might be almost meaningless emotive playing a purpose. More recently I seem not to be as attracted to this sort of thing – I sure hope it doesn’t come from listening to Paul or Brian (let alone Jon) – but I have been more interested lately in the jazz (more recent jazz at least) that I listen to – to hear for more subtlety that fire in the jazz I do listen to. And then I heard this. It is not so much that this wasn’t kind of what I was expecting – it might be that I didn’t know that there was: 1) a saxophone player who could play like this – this type of visceral and intense stuff – even moreso than a guy like Perelman – and have a fullness of tone – and pack it all in so tightly. Not taking his time ala Dunmall – but keeping a melodic sense as Dunmall is wont to do. And having the kind of awesome control of his instrument with jazz dropping intensity. And yes – unrelenting through the 42 minutes (and I love 40-something minute discs – nothing better than wanting for more – not much worse than waiting for a disc to end – as one might know that the rest might be the same as what had come before. 2) Didn’t know a drummer like Chris Corsano existed. Simply said, the most explosive powerful drummer of this sort I have ever heard. Has changed my paradigm as to what is possible playing free jazz on the drum kit. And yes – he is kind of a basher – and despite how powerful he is with Flaherty – the two solos – particularly the one that opens the middle 18 minute piece – is pretty much 6 minutes of sonic bliss. Never heard a drum solo like this before damn - nice to write something like this about this disc Never thought I would write any of this about this disc. I was execting something *like* something I had heard before. The liners talk about Corsano channeling Denis Charles through some other sort of experiences - but the only thing I hear is some kind of nuclear force drummer. And I have long railed against some of the drummers who bash - usually can't take it anymore - I usually lean towards guys like Paul Lovens, Tony Oxley or Mark Sanders. In fact, I have oftne been dissapointed by the younger drummers who have played at events like the Vision Fest over the years - having seemed to my ears to have only listened to guys like Murray and Graves - and having turned into lesser versions of the grand masters. Corsano (at least from the evidence here) is a new player on a different plane than anyone else playing this sort of fiery free jazz improvisation - at least that I have heard 5 stars peace and blessings

actually a year apart I saw Frank Gratkowksi with Gerry Hemingway - first time w/Formanek, the second time with Lindberg. The first concert was stronger - but it might have been the vibe in the room - or it might have been me. As far as the bassists' contributions, Lindberg is much more adept with the bow - and a more articulate and precise player than the big man. No knock on Formanek, he is a very fine bassist as well as a fine composer, it's just that to these ears, Lindberg is a more versatile and ultimatley a more exciting and interesting player.

clifford: Lyons and Murray are in top form on Jump Up - but to my ears - the young man (21 at the time) is the star of the show. He is quite a bit more than just a "good bass player" He is easily one of the most accomplished double-bassists in the world. The scope and breadthof his improvising - even at 21 - is far beyond what most bassists would even imagine. Simply listen to him with George Lewis and Barry Altschul on the aforementioned "Give and Take". This isn't the work of someone who is simply a "good bass player". The only contempoary bassists I know who ply with his depth and precision both with and without the bow - in music closely jazz based - are Dave Holland, Mark Dresser, Harrison Bankhead and Fred Hopkins. I would mention more european bassists - but they tend not play in the same realm or environment as Lindberg. Sadly Hopkins is no longer with us

one more day and the *great* Misha Mengelberg kicks of the U.S. Tour of the vaunted ICP @ Tonic on 3/21. with the one and only Han Bennink on drums, the sublime Michael Moore on reeds and the controlled chatic virtuosity of one Wolter Wierbos on trombone not minimizing the contributions that will come from Tristan Honsinger on cello, Mary Oliver on violin, Ernst Glerum on bass, Thomas Heberer on trumpet. The two saxophonists Ab Baars and Tobius Delius round out this incredible band.

I'll try to dig up a few very old comments that I've made over the years nice to know that people are interested in the great bassist/bandleader/composer

plus we could do a whole thread on the John Lindberg black saints start with the great "Give and Take" - with George Lewis and Barry Altschul - from 1983 the later ones are all fine - with some like Resurrection of a Dormant Soul, Quartet Afterstorm and Bounce maybe being ona slightly higher level than the others they feature great players from various backgrounds - from Albery Mangelsdorff to Ed Thigpen to Dave Douglas and Larry Ochs

some of my favorites that might not have been mentioned: Billy Bang: Valve #10 - with a subdued and wonderful performance by Frank Lowe - as well as a sublime rhythm section of Sirone and the *great* Denis Charles Andrew Hill: Shades - Clifford Jordan at the top of his game. Hill more in the pocket than on things like Strange Serenade. Riley and Reid are perfect together swinging Hill's music in a more traditional way than normal. Muhal Richard Abrams: Hearinga Suite - great big band with Cyrille in the trap drum seat. All colours - perfect length (about 40 minutes) has this listener pining for more. David Murray: Bodies and Soul - from 1993 - ripping quartet with rashied ali more aggressive and powerful than many of Murray's drummer's performance within his quartets. Sonelius Smith roars from the piano chair. Julius Hemphill: Flat Out Jump Suite - seemingly dense and obtuse - this reveals itself to be a classic example of Hemphill's art - within a fairly standard quartet's instrumentation - outside of Wadud's cello in place of the traditionla bass. And the great cellists takes this music to places before unseen.