Steve Reynolds

and try "Nailed" from 1991 with Evan Parler, Barry Guy & Tony Oxley more down the road - and more intense - a little less space - but you get to hear the only other saxophonist (besides Lyons) who really meshes with Cecil at his highest and strongest and yes - the late 70's band might be the pinnacle for the unit - one here for One Too Many - love the out of tune piano - like on Nefertiti....

I want that 3 CD Monk disc BAD

for the great Trio 3 disc, try "Live in Willisau" recorded 1992 the later discs are fine - but this one is a classic and as far as sound, this one is mastered by the *great* Peter Pfister - it renders compliments superfluous Shell, baby

Gail Brand's quartet with: Gail on trombone Phil Durrant - violin & electronics Pat Thomas - keyboards, piano, electronics Mark Sanders - drums, percussion on emanen some comments will follow - but suffice to say that this is, to my ears, the most successful melding of electronics and jazz/improvisation of recent vintage. One of my personal favorites of the last 5 years - a great way to introcuce oneself to Mark Sanders and a new world of improvisation, stasis or not - stunning, captivating industrial and soft, hard and light - striking in it's intenisty within a wide range of sounds

Keith Rowe

Trevor Watts & Mike Osbourne

looking forward to the John Law recording wondering who the trio and quartet are

for Roswell Rudd fans, please listen to Elton Dean's "Rumours of an Incident" from 1996 with Marcio Mattos, Alex Maguire & the *great* Mark sanders at the kit first 43 minutes is great - and the remaining 17 (end of the seond set) is also worthwhile fre improv with nice dancing grooves throughout. on SLAM

Fred is the last of the great blues tenor saxophonists my guy called me a cab once from the Velvet love him to my soul, to my being live one night a few years ago with Kidd, William & Hamid, they were dancing in the aisles - opened alone - the band joines, they wnet byond and back - will never forget it one day I will see him again one day in may peace and blessings

clem - you be my blood brother, I think preach it, dude only have the 2 hat trios - no record player here...

thought I would post my comments here that I posted elsewhere as I do think some of you would really enjoy this recording: on Nine Winds recorded live 10/1 & 10/2, 1989 with: Vinny Golia: sopranino & soprano saxophones, bass clarinet John Carter: clarinet Ken Filiano: bass Alex Cline: drums the leader is on piano ok - have had this for years - Jon Abbey mentioned it in a thread recently - don't think it has really ever been discussed much (if at all?) on the boards. Played it late last night (actually early morning) *after* AMM's Allentown - and this is not always an easy transition for me (and I imagine some others) as AMM's music is so foreign and sometimes desolte that it oftne takes me time and even effort to transition into and out of it's space. recording starts off with a fully improvised ten minute trio piece of bass clarinet, clarinet & piano which is nice with some nice interplay btween the two horns. On to the aptly titled "A Hard Act to Follow" with a nebulous theme by Golia that is hinted at towards the beginning and nore directly driven home at the end - in between the band members really start to gel and the combination of Golia's sopranino and Carter's clarinet (not in unison) over aand sometimes with the rhythm teams makes for invigorating listening. Cline impresses throughlout and Filiano finds a happy medium between Guy type aggression and virtuosity and a more melodic approach ala Mark Helias or Michael Formanek. Then to the centerpiece, the long (30+ minutes) "Everything Else is Away" which is a group of overlapping unaccompanied solos by all members of the group followed by what amounts to be a 8 or 9 minute group improvisation - and that's about what is siad on the liners - sounds pretty rote, eh? - well well - stunning playing from all - Golia's soprano - man is he a undervalued dude? I only have 4 or 5 of his recordings - I'm in the fucking dark - Cline - pretty amazing - and then we hear the genius of Dr. John Carter - my wife is stunned at the perfection - perfection of complete and utter orginally and beauty - perfect throughout the full and unknown range of the horn last piece (again fully improvised as is 98% of this record save for the scant Golia them during the second track) is a bustling grooving workout that pulls the whole thing together grandly my thoughts go out to the late Richard Grossman who it seems at the end of his life, was at least able a few times get down on record, the magic that came from those fingers (see the 2 great hat discs with Filiano & Cline) as well as get one of the three concerts the above quintet played recorded and saved for lucky people like us.

2 days in april is one of my favorite Drake/Parker recordings - but I don't always get with Kidd. Anderson especially roars during the middle portion of the second disc - irresistable grooves throughout live a couple of years back, they were beyond the disc by quite a bit - among the best 2 or 3 shows I have ever seen. people were literally dancing in the aisles

better than Nuclear Assembly Hall by quite a bit to my ears Drumm is part of the reason still need to spin the Schooldays discs a few more times

first off, the Ganelin Trio desreves it's own thread love Con Affetto - my detailed comments are elsewhere on the net - anyone interested can PM me or go where they are just rec'd the double disc on Leo documenting a 1985 concert when my electricity is back tommorow, I'll give it a spin I also love Poco-a-Poco and like Ancora Da Capo (prefering the second version on the CD) would love to hear Catalogue some day but I'm so glad to have received Ttaango...In Nickelsdorf that I can hardly spit

I'm glad that *I* am the main reason he no longer posts at Jazz Corner He is, of course, welcome But I am now hopefully beyond such nonsense and so are the people over there - and I think here as well peace and blessings

Life Rays with Sirone & Andrew Cyrille munificent

and they list people like Urs Leimgruber, Joelle Leandre, Peter Kowald and even AMM - plus where is one gonna get full detailed commentary on great musicians like Paul Dunmall, Joe McPhee *and* Duke Ellington?

think about that band - one of the greatest bassists playing anywhere (bankhead) and an unrivaled horn section - led by Wilkenson - but if anyonw has seen Isiah Jackson live - wow and Bowdon is tremendous on the all his horns - especially the baritone - which he handles with the ease of an alto

was lucky enough to see both Von Freeman & Eight Bold Souls on a trip to Chicago back in 1998 - good to know both are still making beautiful sounds amazing that Wilkerson still has the same great badn intact for all these yeasr - too bad there are only a few recordings - and the last one I know of (on thrill jockey) was a great one

I also love the new Rowe/Beins disc - as far as to whether it is accesable compared to other "eai" stuff - who knows! I still think the best place to start with Rowe are the classic trio AMM recordings - Newfoundland, Live in Allentown and maybe Generative Themes The World Turned Upside Down is also wonderful - though completely different from the more immediate approach on the new duo recording - maybe some of Harsh - one of his solo recordings - comes near the intensity and verve of the Rowe/Beins disc fwiw - I do think there is something frightening about this disc - when the radio is playing "Son of a Preacher Man" and the two of them overwhelm it with a cacophony of sound, it is breathtaking - yet also very eery.

an excerpt from somwhere else this is a recording that DEMANDS to be heard no funny rat thread for this - from a previous post, some might remember I don't like the idea of a thread that separates "so-called" out jazz from the rest plus my wife thought this one was a beaut - she says this isn't "twisty" like most of the stuff you listen to it's actually quite melodic - and when you all hear the Duke tune - swing high and swing higher recorded in 2002 - available from DMG - should be in all major record shops - but alas the musical world as some of us know it is past insane Musicians: Felicity Provan -- cornet, Joost Buis -- trombone, Jan Willem van der Ham -- alto, bassoon, Tobias Delius -- tenor, clarinet, Frans Vermeerssen -- baritone, Paul Pallesen -- guitar, Cor Fuhler (familiar to me only from The Flirts and a revelation here) -- piano, organ, Wilbert de Joode -- bass, Alan Purves -- percussion, Michael Vatcher, percussion what a record - if I have heard more new releases - this would be record of the year (with a close second to the Rowe/Beins miracle show) first track is stunning - one those great jazz tunes with no solos - from the Cherry (or more closely McPhee) like cornet opening building into a rhythm which I have never heard before - is this jazz - is jazz dead? - are these guys from our planet? - I guess there are new ways to say new things - doubters need to hear this - only precedent I can think of is the opening track to a great Michael Formanek recording - Low Profile (Groogly, I think) that used some of the same elements - this is even neater - Buis sees no need to overdue thinsg - all tracks are under seven and a half minutes - and most are comfortably in the four to five minute range. No theme solo theme formula - yet the music is as easy to get and to groove to any bop record - unless one is simply at loggerheads with anything outside the idiom. when Delius enters during the second track, the promise of the opener is intensified. Full, throaty tenor - yet of the year now - jazz is dead!?!? and the pianist - especially remembering hearing him on the great Hands of Caravaggio - could he also be such a great and senstive pianist of this sort - and when the recording closes out with that organ - now in the third track - we hear some guitar and baritone playing together over a bustling rhythm section - with the baritone being used in an unusual way - mainly as an accompiantment - building into a pure riff - impressive stuff indeed and the first abstract piece is short - then to evidence that this really is Cor Fuhler - as we hear the inside of the piano being struck - and this (The Comet's Point of View) actually turns into something resembling a ballad - with the pianist taking to the standard portion of the piano - but despite the obviously accomplished musicianship which permeates through all of the music played - not many solos anywhere of any lenghth - wait a minute - not always the case - sound of surprise - is that a baritone saxophonist playing in this band that is from the school of Harry Carney?? - it is!! yet we hear the individual voices of the members of the band in a band with Cor Fuhler - nice and anytime a band is willing to drop a great groove, you know they believe in their music - hear Spaghetti Canon - groove resumes - but not where it was - where is it going? sounds, noises - all gorgeous - and the leader isn't interested in hearing himself - he is spotlighting the members of the band - the trombone playing is mostly used as a member of the ensemble waiting on the Ducal tune - *I* might even dance to it one other thing - sound quality - stupendous - puts so many recordings to shame - and I'm sure they didn't have more than a small fraction of what the blue note of the last ten years have to make most of their releases sound like dog shit in comparison to something like this - props to Dick Lucas - who I was not familiar with prior to hearing this record

along with Duke Ellington's band (especially the 1960's version with most of the great players mature in style - yet still with all the skills of their youth), the large ensemble I most would have love to have seen (including the current ones I mentioned above) was without a doubt Chris MacGregor's Brotherhood of Breath with the *great* Mongezi Feza on trumpet, Dudu Pukwana on alto, Louis Moholo on drumsd and the rest of the crew - the South Africans (the blue notes) had a vibe of their own that still hasn't been matched

what other recordings do you have with Han Bennink? those two CD's do not represent his playing 2 great ones are duet with Myra Melford (Eleven Ghosts) and Ellery Eskelin (Dissonant Characters). Han is very serious on these dates(while not lacking in humour in his playing) - he just plays the hell out of the drums - no tearing of coardboard or other zany antics (not that there is anything wrong with that - I'd just rather hear him dowhat he does best - which is play world class drums - and his range is remarkable - he swings, he plays all the little sound and details interacting with the pianist/tenor saxophonist - both are incredible while be very different from each other

I love Love Henry and especially I Am An Indian - with the Dewey Redman tune (Qow) being a highlight with Bennink swinging madly while Michale Moore plays some somewhat uncharacteristicly emotive and sometimes even waling alto saxophone. I like both Rara Avis & An Hour Wit... as well - but I like the more loosely structured earlier dates - maybe to my ears the later material (or rather performances) became more homogenized and less unpredictable in any event a great trio that is sorely missed fwiw - I'm new here - and this is cool thread - but I fear it extends the bifurcation with jazz circles by separating so-called "out' or "avant-garde" jazz music which ensures that the mainstreamers will simply ignore it when actually much of the music discussed on the 200+ pages is quite accesable to many people who wouldn't even know it. Much of this music *is* today's mainstream, whether some die-hard conservators like it or not Get Ready To Receive Yourself

to me most of them are large ensembles that rarely, if ever, come to the States - mostly dude to financial or logistical reasons Italian Instabile Orchestra - appeared in Chicago a few years ago - that has been it Globe Unity Orchestra - never appeared in the States to my knowledge - and have only had a few appearances of any kind over the last 10 years - latest version was only about 10-11 strong with Schlippenbach, Brotzmann, Parker, Lytton, Rutherford, etc. Berlin Contemporary Jazz Orchestra - Alexander von Schlippenbach's other big band (he is the founder and driving force behind the Globe Unity Orchestra). For those who havn't heard them, they have at least 3 recordings - the fist being the self-titled one on ECM which features Kenny Wheeler's long Ana and two fantastic Misha Mengelberg pieces. Some might be surprised that Benny Bailey sits in one of the trumpet chairs while Ed Thigpen swings the big band mightly. "Morlocks" on FMP is a grittier more "out" recording which still jas many swinging elements and fantastic charts throughpout. The last recording that I know of is Live in Japan 1996 on DIW - which combines disparate elements (and some fine local (Japanese) musicians augmenting the core members of the band. Amazing ot hear Paul Lovens in this context as on some tunes (like Jackhammer) one would swear it couldn't possibly be Lovens at the kit (if you know anything about Paul Lovens' playing - you would know what I mean and lastly - a chance to hear Barry Guy's "New Orchestra" might be the highlight of highlights being that the great long standing London Jazz Composers' Orchestra appears to be defunct after an incredible 25 year run which includes, IMO, the greatest recorded large ensemble music since Duke Ellington. Ode,Harmos, Theoria, Double Trouble and Double Trouble II are all lnadmark recordings - the more recent ones (all but the early 70's Ode-which is whole different more untamed animal than the late 80's and 90's recordings) include pianist like Howard Riley, Irene Sweitzer and Marilyn Crispell with a reed section that includes Evan Parker, Paul Dunmall & Trevor Watts. to see this band or the smaller 10 piece New Orchestra LIVE would be an incrediable experience - (check the recording Inscape/Tableaux - my record of the year from a couple of years back) but it includes Parker, Mats Gustafsson, Johannes bauer, Herb Robertson, Marilyn Crispell and both Raymond Strid and Paul Lytton in drums. at least I've gotten to see the *great* Peter Brotzmann Chicago Tentet twice - ironically their full power and grace has never been captured on record = live in the small confines of NYC's Tonic was an incredible experience indeed - and for me I was lucky enough to see them twice (in 2000 & 2002)