Steve Reynolds

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.

my comments on the Hemingway/Lehn show on saturday 3/12 posted in live section - but maybe more apt here Thomas Lehn is a fucking lunatic - whatever brought him to a life that includes doing what he does with that crazy monster might make the thoughts in my head seem rather tame. He didn't seem comfotable that everything was right at the beginning as there seemed to be a small unwanted buzz that was eminating from some of the wires that connected his briefcase like thing that I would imagine is hooked up somehow to a couple of other boxes, the analogue syntheziser keyboard thingy and a laptop type thing - a few glowing lights here and there and someelse maybe - and once the thing is turned on or activated somehow, how he controls this monstrosity of wires, tubes and whatever the hell else is there is beyond me - almost like he sets the sound off and has to control it, let it loose, reign it in, and mainipulate it the best f his ability to somehow make music that might seemingly make no sense or more sense than anything that exists in sound - sometimes all at the same time - and whatever happened at the end of the almost closing third piece would have changed a few perspectives of some if they had been sitting in the room last night - then again, nobody hears anything the same with this stuff I call music of almost complete immediate invention - and despite having thought that the *great* Gerry Hemingway had reached a peak with his hand drumming earlier in the piece (after being sure nothing could top whatever the hell he invented on a little steel drum type instrument placed on his snare during the epic like second 20-25 minute second piece, somehow I knew that there would be an explosion of sounds that only Gerry Hemingway is capable of when he decides to go what might be called full bore - well my head almost fucking exploded when the hammer dropped - and for about 6 or 7 minutes, it was better than ejaculating twice lordy lordy only complaint is that the opening improvisation (at 12-14 minutes) didn't really gel, and I thought for sure that Anthony's friend must have certainly thought us insane and after having pizza with us previously) certainly thought me insane as some people have thought that before about me - and I am - but in a good way By the time the hour+ set was done - as they closed with a beautiful short somewhat quiet improv with Hemingway blowing into something or other into his snare drum, the circle was completed - now I wish I could hear it agina, and decide whether to watch and listen or not to watch and listen - instead of sometimes doing both - and I still sometimes find myself wondering what the hell Lehn is doing rather just accepting what he does - he is certainly an incredible musician with a range and creative imagination that makes me think that almost anything is possible in this world what a night - special, special night for me..... --------------------------------------------------------------------------------

my comments: Thomas Lehn is a fucking lunatic - whatever brought him to a life that includes doing what he does with that crazy monster might make the thoughts in my head seem rather tame. He didn't seem comfotable that everything was right at the beginning as there seemed to be a small unwanted buzz that was eminating from some of the wires that connected his briefcase like thing that I would imagine is hooked up somehow to a couple of other boxes, the analogue syntheziser keyboard thingy and a laptop type thing - a few glowing lights here and there and someelse maybe - and once the thing is turned on or activated somehow, how he controls this monstrosity of wires, tubes and whatever the hell else is there is beyond me - almost like he sets the sound off and has to control it, let it loose, reign it in, and mainipulate it the best f his ability to somehow make music that might seemingly make no sense or more sense than anything that exists in sound - sometimes all at the same time - and whatever happened at the end of the almost closing third piece would have changed a few perspectives of some if they had been sitting in the room last night - then again, nobody hears anything the same with this stuff I call music of almost complete immediate invention - and despite having thought that the *great* Gerry Hemingway had reached a peak with his hand drumming earlier in the piece (after being sure nothing could top whatever the hell he invented on a little steel drum type instrument placed on his snare during the epic like second 20-25 minute second piece, somehow I knew that there would be an explosion of sounds that only Gerry Hemingway is capable of when he decides to go what might be called full bore - well my head almost fucking exploded when the hammer dropped - and for about 6 or 7 minutes, it was better than ejaculating twice lordy lordy only complaint is that the opening improvisation (at 12-14 minutes) didn't really gel, and I thought for sure that Anthony's friend must have certainly thought us insane and after having pizza with us previously) certainly thought me insane as some people have thought that before about me - and I am - but in a good way By the time the hour+ set was done - as they closed with a beautiful short somewhat quiet improv with Hemingway blowing into something or other into his snare drum, the circle was completed - now I wish I could hear it agina, and decide whether to watch and listen or not to watch and listen - instead of sometimes doing both - and I still sometimes find myself wondering what the hell Lehn is doing rather just accepting what he does - he is certainly an incredible musician with a range and creative imagination that makes me think that almost anything is possible in this world what a night - special, special night for me.....

Cecil Taylor Alexander Von Schlippenbach John Tilbury Paul Bley Misha Mengelberg

I voted for "Bemsha Swing" others that I love- Oska T Green Chimneys Little Rootie Tootie Well You Needn't in Walked Bud Hackensack Four in One for today....

I liked relyles long post Paul Dunmall might be a bit more out - but he belongs on the list

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