Steve Reynolds

the NYC date is also worng, I believe the website for Stone lists the date as 11/29 - which is a tuesday I will be there

with John Adams and Mark Sanders on hatology Dunmall plays tenor and baritone saxophone - the beast on two of the tracks fully improvised music that resides in it's own genre as it has the drive of some american based free jazz and the intensity of some of the best euro flavored improv. during many sections, Dunmall transcends his instrument and becomes a force of nature still stunning after all these years and listens

this is one of the great recordings of the past 20 years - stunning in it's conception, beauty and execution - and Pino Minafra shines throughout - the emotional depth of his playing - as well as Trovesi's, is something to behold.

Chuck - I enjoy his soprano playing on the 3 CD set - Strings with Evan Parker - and like it occasionally within more jazz based groups - but I tire of the circular breathing wonder music after a bit - seems that it is almost auto-pilot - as amzing as the sounds are that come out of his horn. I just think his tenor playing is extraordinary

recorded 8/26/99 Leo Records CD LR 305 revisited this today one long 77 minute improvisation - intitially Parker's tenor is very forward in the mix - once my ears adjust after the intitial 5-6 stirring introduction, the band adds and subtracts intruments with the drummers continually taking this music to very interesting places. Guy is in prime form, playing very with an ascerbic manner - whether it be with or without the bow. - and the pianist is in glorious form, imbuing the proceedings with splashes of stride, bop and Monk influenced lines - but the dual drummers - metal, skin and sticks - from quiet passages to noise that most anyone not versed in the music would be astounded by and terrified of if they happened to eneter a room where this was playing - I played it at a very high volume today - kept me glued for the full 77 minutes I think I'm gettting better - still love Parker's tenor more than the soprano - although the central section (with Evan on soprano) has it's moments of power and beauty - but some of the tenor playing is some of his most powerful and fiercest on on record - none of this music is for the faint hearted - brings me back to the days when I was listening to this stuff for hours on end - sure did sound great filling up my place today - and my wife actually didn't mind it - well - when Parker wasn't blowin' hot fire from his horn - she likes the piano - well who wouldn't? and please don't this should be in the funny rat thread - still don't like the idea of a separate thread for out-leaning music

I love Hearinga Suite with a large ensemble - gorgeous music which defies category within the jazz idiom would be a nice blindfold test for those who don't know....

funny how that *I* am called the names imagine if I started a thread here about Joe Maneri..... have a nice day Allen peace and blessings

if Hemingway (based on your sublime knowlegde and listening experience) can't play 4/4 time, then so what? you say that you have a hard time listening to him since that experience but Hemphill was the greatest, or most amazing musician you ever knew - but he couldn't play standards where is the logic here? Hemingway's music and drumming is not standards based, so why do you dismiss him out of hand when Hemphill is on some kind of pedestal although apparently the both of them have some sort of deficiency in your mind makes little sense to me

some silly comentary above I saw Hemingway once with Mark Dresser and Joe Lovano - and although much of the show was Ornettish in feel, the time-keeping when applicable, was inpeccable the thought that he is unaware or unable to play straight time is silly and foolish what discs have you given some listening time to, Allen? listne to the title track of Special Detail to hear some mad swing - but alas - it ain't standard type swing - or the last two tracks from the same album - or what about the last track from Demon Chaser? ever heard this shit??? - or are you just trying to piss on a parade??? plus even if he doesn't play standards well, who the fuck cares? his music and his drumming are both beyond what is the norm from a technical and mucicality standpoint how many times do we have to hear some irrelevant commentary about a great musician just because the muci they play might not be what *you* or someone else expects from the music? Dark was the Night, baby

the quintet from 1993 with Ernst Reijseger, Michael Moore, Wolter Wierbos & Mark Dresser - the long time working band of the 1990's. sublime, adventurous 54 minute suite - beyond category on hatART for those who don't know - and if only for the closing 16 minute section which brings all the power and glory of these master musicians to full flower - stunning - Michael Moore transcends his reputation as a coolish, restrained player with some of the most outrageously intense, yet collected alto saxophone playing of his wonderous recording history - and Hemingway absolutely unloads behind his kit - tremendous recorded sound - and the themes from all the preceding sections appear, dissapear and coalesce into something I still never think existed - even after all these years of loving this band - at one time this recording was the one that was a bit mystifying - today, it might be their best to these ears more later.....

Foxes Fox and The Ayes Have It are prime Evan Parker in strong tenor mode - slight edge the The Ayes - great trio set with Rogers & Muir - and the 1991 set is a quartet with Wierbos, Rogers and the *great* Mark Sanders - Sanders is spectacular throught the 36 minute improvisation - Parker stciks to tenor on this piece - he alternates between his two horns on the ealier session - great sound and tons of energy throughout

anyone who thinks drugs are necessary for listening to or making great music are fucking lost I speak from experience - I have found a new way to live - and it like nothing that I have ever experienced before - some of us have found that we can't smoke a joint anymore - because it leads us to other places where a simple hit of weed seems meaningless. however - much of what I listen to might be considered music that is suitable for this sort of indulgence - and that might be the case for some who can smoke a couple of joints or have a few drinks - some of us cannot - and let me tell you something - music has never sounded better to this person - with no "help" from mood altering shit blood and guts, baby

I don't hear Ghostly Thoughts as a violent recording - in fact I think it is Dunmall at his most striking as far as Mujician - Colours Fulfilled and Birdman are extraordinary recordings - again Dunmall is in prime form - I think Birdman is more intially satidfying while Clours rewards more repeated listenings

Joe Maneri: Let the Horse Go & Get To Receive Yourself seconds on We Are Everyone in the Room - and I still havn't heard it Brotzman's Die Like a Dog: Little Birds Have Fast Hearts many of the other best titles I use regularly

Dave Holland: Conference of the Birds Joe Maneri: Dahabenzapple Fred Anderson: 2 days in april William Parker: O'Neal's Porch Duke Ellington: Far East Suite Count Basie: Atomic Basie John Coltrane: A Love Supreme Miles Davis: Kind of Blue Hank Mobley: Roll Call Andrew Hill: Shades Joe Henderson: So Near So Far Steve Lacy: Morning Joy Myra Melford: Even The Sounds Shine Art Ensemble of Chicago: Le Stances A Sophie Clusone Trio: I Am An Indian Paul Dunmall: Ghostly Thoughts Mujician: Birdman AMM: Live in Allentown David Murray: Ming Simon H Fell: Composition # 30 Evan Parker: The Two Seasons Horace Tapscott: The Dark Tree Sonny Rollins: Live at the Village Vanguard Booker Little: Out Front Misha Mengelberg: Who's Bridge Freddie Hubbard: Open Sesame Tina Brooks: True Blue Peter Brotzmann: Tentet Box Mats Gustafsson: You Forget to Answer AALY + Ken Vandermark: Hidden in the Stomach Dennis Gonzalez: Stefan Charles Brackeen: Worshippers Come Nigh Gianlugi Trovesi: From G to G Pino Minafra: Sudori London Jazz Composers Orchestra: Harmos Gerry Hemingway: Demon Chaser Randy Weston: Saga Frank Lowe: The Flam Julius Hemphill: Raw Materials and Residuals Arthur Blythe: Spirits in the Field Trio 3: Live in Willisau Italian Instabile Orchestra: Skies of Europe Anthony Braxton: Dortmund 1976 Clifford Brown: At Basin Street Mal Waldron: Mal, Verve, Black and Blue Mat Maneri: Sustain Sam Rivers: Trio with Holland and Altscul Spontaneous Music Ensemble: A New Distance Ben Webster: King of the Tenors Coleman Hawkins: The Hawk Flies High Art Pepper: The Art of Pepper Cecil Taylor: One Too Many Salty Swift and Not Goodbye Jimmy Lyons: Jump Up John Lindberg: Bounce all for now

No Try No Fail is simply one of the great improv recordings ever stunning and beyond

any word when the NYC show is?

that wasn't me - it was a guy sitting or standing way to the left of me screaming "BROTZMAAAAANN" a few times - I think it actaullay added to the musical hysteria of the last buring composition and wild soling/cacophony!!! then again, even Brian O might have uttered a few gutteral sounds during the onslaught!!!

yes - @ Tonic two short but blistering sets do you remember the band standing silently at the outset until they lauched into a fanfar of sorts on the oepning carnival-like Brotzmann composition? two great long form things that night - one by Williams and a longer one to close out the second set by KV - which was partly almost "Brotz plays afro-cuban or calypso - never have I heard a band groove so much. hope Hamid's shoes are filled rightly - as he was incredible in this band.

do NOT miss the Brotzmann Tentet - I will be seeing them (with Nilson-Love for the first time - I have seen them twice with Drake) and am looking forward to it. the previous tow times were among the best shows I have ever seen - the last time - in 2002 - was simply the greatest live music I have ever witnessed.

sounds like a great little quartet anyone attend? for those who havn't heard Lindberg, he is one of the great bassists in music today - or ever

from the 1970's with the leader on bass Keith Tippett - piano Mark Charig - trumpet Malcolm Griffiths - trombone Mike Osbourne - alto saxophone Louis Moholo - drums a stunning 37 minute suite - with the fanfare that begins the first piece - one knows it is a special day - with Tippetts priceless ostinato behind the trombonist - with Charig follwing - with Tippett involving himself in the playful nature3 of the music - the leader's bouncing bass lines underpin the whole thing creating a joy leading up to the great altoists early cries for help... by the third piece (of the four) the band is one - with Moholo playing beyond himself - and hearing the trio of Tippett with the bass and drums towards the end of the long (15 minute) "Jumping" - one hears the majesty of musicians playing at the peak of their mighty powers priceless - one the great jazz sessions of it's time - and of any time, really found in the Harry Miller box - on ogun for those who don't know - konow - feel - and live in the beauty of genius among us Harry Miller, RIP for Mike Osbourne - I pray for you every day peace and blessings

listen to Don Byron then listen to John Carter or Marty Ehrlich or Michael Moore then you might understand what Nate is talking about

don't know many naysayers when it comes to O'Neal's Porch will be looking to find a way to get this one - if it is anywhere near as great as the previous recording, watch out.....

nice post, relyles I find that most so-called jazz critics don't pay nearly enough attention to what is going on in today's world of jazz and improvisied music - save for the many that are writing for the less mainstream publications or on-line sites. even people like Francis Davis and Gary Giddens are out of touch with much of what has and is transpiring in the world of jazz and related musics.