Steve Reynolds

“At The Vortex” from Parker-Guy-Lytton recorded in 1996 does a great job approximating the power and force of that great trio. Paul Lytton is especially well captured on this recording. The opening 38 minute piece demands full concentration and needs to be experienced at high volume. Life changing recording for me back almost 20 years ago. Seeing Parker live circa 1998 @ The Knitting Factory was also very important to my musical awareness. Seeing Evan in May 2001 with Mark Sanders (and Tim Berne & Drew Gress) solidified my love for Parker’s saxophone playing. He’s still my favorite saxophonist.

Buy “The Two Seasons” with John Edwards & Mark Sanders 2 CD set recorded during the Summer & Winter of 1999 as great as Parker is here (playing at his absolute peak level), his bass & drum band mates are just as great. The best recording I’ve ever heard of Mark Sanders who is one of my favorite 4-5 drummers on the planet, Edwards is, IMO, the ultimate bassists for this sort of music playing today and almost 20 years ago as presented on this recording, his sound is captured in a close up-front way.

I’ve seen that trio live probably 5 times over the past 5 years. As great a group as there is in jazz/improvised music. Not convinced that the ECM effect works for the music. I saw them early this year and they played all new music and it was a spectacular 65 minute set. Only surpassed by an amped up electric set (Craig on keyboards) they played in late 2016. That was the show that my wife told Mat Maneri he reminded her of Jimi Hendrix. Too bad there is none of that type of mind bending improvisation with Ches playing as powerful drums as I can remember on The Bell. I kind of feel the same way about Uncharted Territories. Nice to hear Holland play ing with Evan again but the band and/or the recording never gets to the burning high intensity that marks the best work/playing of Ches Smith and the tenor playing of Parker (although brilliant) doesn’t get to the level that we hear on the most recent Parker-Guy-Lytton recording in Intakt - that is a live recording from The Vortex. I also wonder if Holland can be as an effective foil or partner on double bass as the *great* John Edwards or even John Hebert with Evan Parker. Seems to me one needs to be more committed to this music for the energy to show. I don’t hear it but I’ll keep listening.

I think it’s a good recording and Ches is also the one who stands out for me. It certainly needs to be listened to in portions as it’s quite a bit to take in. I’d prefer a live recording of the quartet.

I think more historical lists just further marginalize phenomenal current improvised music even if that is even possible. How about discovering Rodrigo Amado or Mat Maneri or Ches Smith or Matt Mitchell or Darius Jones or even William Parker who is over 65 years old?

Part of the reason I went was that Ches Smith was listed as the drummer and when I arrived and noticed Cleaver at a table in the back I got a bit concerned. As good as Cleaver is, I’ve seen him on certain nights or with certain bands when (to my ears) he isn’t digging deep into the music. Maybe it’s the right thing for the band or him but more than a few times I’ve left shows being a bit underwhelmed by Gerald. I was also concerned about Tim Dahl (who plays electric bass) as when I had seen/heard him previously (3 times I believe), his approach bordered on the psychotic with technique and effects seeming to take precedence over taste and the needs of the band and music. as far as Ben Monder it’s also been hit & miss in the times I’ve seen him (only with Malaby). Sometimes his playing can veer to the ethereal lacking the bite or the grit I like from an electric guitarist. then I get my typical seat right up front and the AC is uncharacteristicly weak up front so now I’m irritable to boot. A long time regular and I are both the first to order (me iced tea unsweetened) and him something to drink plus calamari. Fast forward that every other customer is served but us / but I digress. good news is that my pal Zack shows up ~ 9:15 right before the show is starting and he ends up closer to Tony than I (he could have grabbed his arm as he played). Zack had come with me to see Randy Peterson & Mary Halvorson in January & to the opening night of Vision Fest in May plus he’s now listened to a bit of “out” jazz since plus he’s into metal, noise, more straight jazz and other stuff that only a few other 23 year olds like him would like. Point is he’s open. He also brought a friend and his fiancé who maybe smartly stayed towards the back of the long narrow club. FULL packed house - not sure how many are unsuspecting tourists who were sent here by local hotels to go see some real NYC jazz but in any event as is his norm, no introductions and with this band, no charts and maybe no plans of any sort. I look down and that assortment of pedals for Monder & Dahl is overwhelming so I try to keep my head up or eyes closed. Tony starts on the soprano and I imagine more than a few must think he is just warming up and in a sense they are correct. Within a few minutes all concerns regarding Cleaver are gone - some heavy grooves are brewing and it is overall like December 2010 when I saw Gerald Cleaver’s Black Host for the first time only this past Saturday night it was almost like 1972 Jaki Liezebeit (from Can) was in the House!! And maybe 40 minutes later after the band went through a multitude of grooves and volumes and skronk and Beauty with Malaby switching off to his huge tenor and then taking his soprano playing to and beyond the edge of all possibilities, I’m astounded as is most of the crowd. They finish the set off with a 12 to 15 minute improvisation and some of await the second set with even I (me of the NEVER leave before the second set mentality as it is most often far better - and with Tony Malaby’s long form improvisational groups this is usually also true). The soundscapes this band builds is really unlike anything I’ve ever heard before. Impossible to explain except to know that despite my fears it worked way better than I imagined. Monder was strong and his sounds probably utilized less looping and effects than Dahl but I just let it all sink in. All of it was dazzling and the overall result as music was exceptionally loud but crystal clear and open. Malaby's playing for some will remain controversial as despite him being a very melodically based saxophonist, the dichotomy is that he is also maybe the most abstract and aggressively discordant saxophonist I know of. Maybe as biting or moreso than John Butcher but he is his own voice. Very little if any connection to the piles of post-Coltrane tenors and his soprano playing has become as strong and as scintillating in it’s own way as his playing on his primary horn. My pal is floored, his friend’s fiancé isn’t driving so she’s staying but she promises she’ll never hear anything like this again (maybe she said this after set 2!!) so we get ready for the second set. Zack asked me what could they possibly do to outdo that and I told him not sure they could but I’ve seen & heard it happen before so who knows?? The band starts together this time again with Malaby on soprano and again he swiches back and forth maybe every 15 minuted and for brief periods of time allows the other 3 to alter the crazy/insane rubbery foundation and for him to breath - and 45-48 minutes later they are done and this round was maybe 30-50% even more intense and accomplished - a few of the sequences are right there with the best music I’ve heard in a bit and when Tony finished the last 6-8 minutes playing gorgeous more traditional tenor I’m again reminded why I see this music. peace and blessings

As I know a bit of what you love in music, giving up after Three Men Walking might be doing yourself a great disservice. Dahabenzapple is calling your name. Plus there are so many great off the beaten path recordings of Mat with others over the past years since Joe passed (or before) that are among the finest that modern improvised music has to offer. 51 Sorrows with Ed Schuller & Randy Peterson on Leo Records is a great one. Might be as old as 2002 or so. The one recording of Mat with Randy is stunning / called Light Trigger and it’s easily available I think. Fierce and if you call anything either of them play solos, they are all essential. Certainly Mat has improvised some incredibly creative tension and release passages. To my ears and experience of seeing live music, he’s left me speechless over the years more than anyone else.

Good post, Jim maybe why I’m not ruminating on this old great stuff so much any longer. I kind of always liked post Riverside Monk in small quantities as it was much of more of the same (outside of the aforementioned brilliant Big Band performances) but there is brilliance in there, it’s just hidden within hours of extended loping tales of the same tunes played for a decade straight. Rather ruminate on the recent and I’d also these days much rather listen to the recent and now. Eyes and Ears WIDE open.

Shocked you don’t have “Coming Down the Mountain” do you have “Dahabenzapple”???

Just sticking to saxophone for now: Michael Moore’s alto solo from “Toombow” from Gerry Hemingway’s “The Marmalade King” on Hat ART records Fred Anderson’s tenor solo from Disc 2 of “2 Days in April” on Eremite Records listen to the whole 2 CD set and if you don’t hear it you didn’t listen (recorded live 4/1 & 4/2/99) with Kidd Jordan, William Parker & Hamid Drake Jemeel Moondoc’s alto solo on “Mota” from Denis Charles’ “Captain of the Deep” - also on Eremite records David S Ware’s tenor solo on “Aquarian Sound” from Live in the World on AUM Fidelity. With his quartet with Matthew Shipp, William Parker & Susie Ibarra. Records in 1998, I think. Maybe 11 or 12 minutes or more and gets to places not possible. Paul Dunmall’s tenor solo on the opening title track of “Birdman” by Mujician on Cunieform Records. With Keith Tippett, Paul Rogers & Tony Levin. Recorded 1994 or so. Long piece but listen closely 10 through maybe 18 minutes in. Absolutely burning all-time tenor saxophone playing Tony Malaby’s tenor solo on the last track “Many Knows” from the Open Loose recording “Atomic Clock” - recorded 2006. Open Loose is Mark Helias, Malaby & Tom Rainey. Steve Potts’ alto on Steve Lacy’s “Wickets” from Morning Joy from 1986 - on Hat ART records Joe Maneri’s very short alto solo called “Joe’s Alto” from “Coming Down the Mountain” on hatology - recorded in 1993. As one person noted that in under 2:00, Joe Maneri played more saxophone than some played in a lifetime. I certainly agree. Get Ready to Receive Yourself

If we had a LOVE button I would LOVE this post One would have to pay me large dollars to watch even a couple of minutes of this charade of pomposity.

Was the air conditioning not working? Was Evan playing Monk & Lacy solo? or duo with Wright?

Plus the set gets better as it goes on. The last half of the recording gets to some pretty deep places. Glad that Not Two is releasing recordings of these veteran improvisors from central Europe that are not very well known.

I found a good price on e-bay - seemed cheaper than direct and it arrived within 10 days. I’ve only listened to the duo with EP. the trio CD with Kaucic called Disorder at the Border with a bassist & saxophonist I’d never heard are what got me excited. It’s an Ornette that is honestly the most striking take I’ve heard of Ornette’s music outside of a live performance of a quartet that included Darius Jones & Nate Wooley. The only thing better than that was a take on Skies of America that included that quartet plus a quartet that included Josh Sinton on baritone saxophone. You wouldn’t have believed it unless you were there how draw-dropping it was. In a little room in Brooklyn a couple of years back. I did feel bad for the other trumpeter who had to stand next to Nate Wooley. No matter how well he played (and he was a fine player), next to Wooley, he sounded like an amateur.

Another one on my list. I jumped on the new 5 CD set from Zlatko Kaucic (also on Not Two) as it is a nice selection of small ensembles (duo with Evan Parker, trio with EP & Agusti Fernandez, Quartet including Lotte Anker Rafal Mazur, etc. he’s a very stronger drummer I’ve recently become familiar with) plus I’ve been debating a few other newish improv releases. Plus I don't buy CD’s or obtain new music to create a back-log. I’ve been revisiting newer releases such as Six Situations (a great trio with McPhee, Damon Smith & Alvin Fielder) or the last Dragonfly Breath CD & the newish small group 2 CD set with Dave Holland, EP, Craig Taborn & Ches Smith. Lots to listen to...

I’ve added it to my list. I have a great album with that bassist on No Business Records: “The Attic” a trio that also includes the great Portaguese saxophonist mentioned below, the *great* Rodrigo Amado. This record seems to be led by the bassist, Gonçalo Almeida and it builds to some incredible heights by the end of the multiple part suite. Speaking of Mr. Amado, have you investigated Rodrigo Amado yet? “The Freedom Principle” with Peter Evans added to his core trio is pretty great. Also on No Business his recent recordings on Not Two (last 5 years) are all great to spectacular. Searching for Adam, The Flame Alphabet & This is Our Language in an alternate musical universe would already be reknowned as all-time classics.

I could have voted for a number of trumpeters / Wooley might be my favorite as well. Have you heard Larry Och’s “Fictive Five”? Among others, Wooley is great on this recording / it’s on Tzadik. My impressions of Wooley live have been overwhelmingly positive. I havn’t seen Evans as often as I’m not as interested in his own projects as I’d like to be. Taylor Ho Bynum, Axel Doerner, Herb Robertson, Magnus Broo & Josh Berman all come to mind as major talents on trumpet. Hard to select one.

Besides Nessa Records not even being listed, Not Two Records was also not even listed the other side of this coin is that many great musicians are listed I think I voted something like this: HOF: Fred Anderson album: Tim Berne’s Snakeoil: Incidentals (most of my favorites not listed) - but I really liked this recording soprano saxophone: Evan Parker alto saxophone: I think I also picked Joe McPhee - Darius Jones would be a very strong choice as well but the great 78 year old McPhee deserves my vote as he continues to astound on Tenor, Alto & trumpet whenever I see him live or on recent recordings. tenor saxophone: Tony Malaby - I don’t think Rodrigo Amado was listed which is as an absurd ignorant ommision as he is simply one of the most stunning of today’s saxophonists baritone saxophone: Mats Gustafsson trombone: Jeb Bishop trumpet: Peter Evans piano: Kris Davis - the fact that Agusti Fernandez is missing is pretty damn pathetic drums: Hamid Drake bass: Barry Guy - no time to write in any more and Guy is still as great as anyone live except probably another guy not listed - John Edwards is NOT listed - they never heard of the best and most powerful double bassist on the planet? He’s only been on the scene in London for 25 years and is the first call bassists for many of the great improvisors/legends like Brotzmann, Parker, McPhee, Moholo-Moholo violin: Mat Maneri (even though he’s played viola exclusively for the last 12-15 years or so. At least he’s listed vibraphone: Jason Adasiewicz

Wanted to vote for Hank had to vote for the *great* Fred Anderson

More amazing that Roscoe & Wadada are not in or Sam Rivers glad you think so highly of Jeb Bishop, Larry I always search out recordings that feature him. On my rare opportunities to see him live, he’s always been outstanding.

Incredible that Hank isn’t in the Down Beat HOF I don’t think I want to see who is in whatever poor excuse it must be if the best hard bop tenor saxophonist who ever lived isn’t in there

Let me give those another spin. I wasn’t so excited about these recordings when I got them a number of years ago. Maybe I didn’t give them the attention they deserved. What I remember is that this is about when Ellery Eskelin started playing in a much more reserved and traditional manner. Not to the point of playing 2/3rds ballads which is where he was at a few years ago when I last saw his organ trio. So glad I’m not the only one who feels this way!! as far as great modern classic recordings, yes only a few I know of on Clean Feed but I know of dozens of incredible releases on other labels over the past 15 or 20 or even 30 years that are not even included in the “so-called” Pantheon of Jazz Classics. When “The Marmalade King” or “Coming Down the Mountain” or “Searching for Adam” or “Blue Winter” or “Captain of the Deep” are heard by more than 2-3 of us here, then maybe there will be some hope of a more rational perspective.

Thanks for responding / no disrespect taken fwiw - I have no problem being on somewhat of a musical island. To each his own. Sometimes I feel a bit odd with my viewpoints on jazz/abstract music and the relation of all of it to historical classic jazz being at odds with almost everyone but it is what it is:)

I mentioned that many of these listeners have decent ears so I’m certainly not denigrating people's tastes in music. You are correct that I’m an objectivist at heart and with my mind so I have no issue in being referred to as someone who thinks in a fundamentalist manner. I also certainly do not expect many more people to jump into listening to improvised music that many find “difficult” or “abstract” or “atonal” or whatever language one might use to describe “avant-garde” jazz or freely improvised music. I do certainly believe that many still avoid listening due to pre-conceived notions and certainly believe many who have “sampled” or “tried out” certain music of this sort. Understandable as the demographic for “jazz” listeners is older and most older music listeners are not delving into new spheres of music. I do believe that many are missing out. I’ve said that if my non-jazz loving wife can love many of the shows I’ve been to then certainly “jazz fans” who think this stuff is too far out of whatever are not completely aware of what they are not listening to.

Another example of lesser music being enjoyed by way more creative music even by many who have decent ears. Really quite sad. I was listening to a 23 minute piece of live music from 2011 that included (among 2 others) Joe McPhee (on alto saxophone of my ears were working decently) and Fred Lonberg-Holm on cello/electronics. There were portions of this piece where McPhee’s level of playing was certainly in the area that could be described as “brilliant” and there are many sections where Lonberg-Holm’s level of playing is even beyond that. As we know this isn’t “commercial” music in any respect. (It’s actually a track on disc 2 of the 5 CD set recorded live in 2011 in Wels, Austria called Long Story Short - curated by Peter Brotzmann) It do remain astounded that many many recordings and musicians such as McPhee or Lonberg-Holm or Michael Zerang (who is the drummer on this piece) continue to be even more marginalized by jazz and non-jazz fans alike even when and especially as far inferior current music/musicians/recording or 50 year old recordings gain all kinds of accolades. Over the past 8-10 years I’ve seen maybe 20-30 shows per year (less this year and last due to life circumstances) and I’ve seen probably 25 or 30 shows easily that to my hopefully decent ears would rate as all-time great performances/concerts no matter what the era or style of music might be. Yet not more than a blurb or pulse about any of it anywhere - not even much here. Most recently in what for me was a larger show, I experienced the night of May 23rd @ Vision Fest which showcased among other fine performances a freely improvised grooving piece of stunning jazz where an 83 year old frail tenor saxophonist gave a performance that would put to shame anything Kamasi Washington would even dream of playing. long live the *great* Edward “Kidd” Jordan