Steve Reynolds

I like this post, Allen The lack of a lineage in this music IMO started in force with what is now (maybe historically) termed European Free Improvisation (EFI) Up until that point there was still much cross pollination within/between the "mainstream" and "free jazz" camps/viewpoints. Art Taylor and Philly Joe Jones as some famous example of classic jazz drummers consorting with the outcats. Sure we have later example like Ed Thigpen playing in John Lindeberg's stellar 1990's groups or even now Billy Hart making an appearance with the Maneri/Ban quintet but for all intents and purposes, there have been a split or splits between different strains of jazz or improvisational music. It has become more notable especially within the mainstream that the avant-garde musicians are rarely or ever included within whatever continues to exist in that area. It was notable that Paul Motian would include younger musicians from various backgrounds in his ensembles no matter what their connection to the lineage was. Much less true for the stalwart mainstream musicians. Same guys, same frameworks, therefore to my ears, very little real excitement. The excitement and innovation occurs on the margins. Not that there is anything wrong with that. I remember first hearing Ellery Eskelin's trio with Andrea Parkins and Jim Black. Live and on record. Very fresh, exciting and truly new. Music as exciting as that does exist. As Allen mentioned it is hard to find the needles in the haystacks. Most of the musicians I follow closer than others still put out recordings that don't measure up. Self editing seems to have always been a problem with recorded jazz. Look at some of the very rote 1950's blowing sessions. Some of those that are collected with some fervor!!! I have found that live shows by great musicians are pretty typically pretty damn great.

I recently read that he was suffering. The memories of discovering Flying Teapot, Angel's Egg and You back in ~ 1980 or so are priceless. And my favorite - the 1976 Live recording Vive le Gong - Gong est Mort - with some powerhouse performances of the true Gong classics I think I'm buying the farewell recording just because..... RIP to a true free spirit,,,,

My pal Travis is fired up to see Open Loose on April 25th. When it comes down to it, Bev is correct - it's a false narrative. The actual music being played (at least the sort of current jazz I'm most interested in) can be astounding, exciting, original, innovative or all of the above. What is missing is many jazz fans don't see enough live jazz to realize the vibrancy of the current music and musicians. So what if it is played in small rooms. Well of course it would be nice - but pretty sad jazz listeners don't take advantage to see great bands/musicians playing in small rooms. Then they would play more often and in larger rooms. Don't give me the $$ angle. We have listeners here paying fortunes building collections of music from the past who rarely support the music where it lives and where is best heard - up close and personal in live settings Giants Walk this Earth Get Ready to Receive Yourself

Electro Acoustic Improvisation is *much* less popular than jazz

What if a musician had clearly racist views of African Americans analogous to Atzmon's extreme views on Jews? Any doubt he wouldn't have a venue to play in? In Manchester or anywhere else?

Heard him once. Last December on a Sunday night with Ray Anderson's Pocket Brass Band in front of a small crowd. He was incredible playing like he was 40 years younger. Afterwords, he was joking that that was all he had for the night. Being it was 2 sets playing *that* music, pretty incredible he played what he played. I'm very blessed to have experienced that night. Seeing someone on the trumpet in their musical prime at 70. Fwiw, I doubt he needed that gig - I'm sure he did it for Ray and for the music God speed - RIP sir

I'm as close to an objectivist as posts here, I think However, I couldn't tell you the 10 greatest drummers ever or playing today. I can tell you a few playing today who are among the greatest who ever sat behind a kit, but that would simply raise hackles.

Btw - my wife thinks either Nasheet Waits or Hamid Drake are "The Greatest Drummer in the World" She usually changes her mind after she sees one or the other

I'm only irritated that you won't continue to post here, Ethan Fwiw, I'm a later member of this forum - and yes it is the best jazz forum there is today - but I'm often a lone or lonely voice on many matters which is OK with me. I have no "credentials" like some of the above. Plus I was once a member of what was once the best jazz discussion board that was much less involved in the codification of this music as this forum is - whether it be knowingly or unknowingly. I still like the movie despite all the philosophies being pretty much in opposition to my own. On multiple levels. Still liked the movie. Then again, I'm not an "intellectual" like many of the above:)

In fact, Moore's "solo" section during Gerry Hemingway's The Marmalade King is superb. His duet on alto saxophone during the closing section is also as strong as anything I've heard from the great reed player on record. And YES - I know it is OOP and very expensive to get. Fwiw, it is now available from one seller @$29.99 which is a good price for this disc - and worth every penny

Wow

Add Joachim Badenhorst. I seen some cool circular breathing on that horn when he played with Malaby's Novela

Marty Ehrlich plays more of the straight horn but he is something else on the bass clarinet Doesn't Rudi Mahall play only bass clarinet?

I very much liked the movie which my wife and I saw on Saturday. I thought J.K. Simmons was great in the part he was given. As far as the the rest, I figured whoever wrote it had a late and very limited introduction to the music. I am also perpetually fascinated how the narrative here and everywhere else regarding the musical and cultural is so different from mine. I think there is much truth in Simmons' character - I think a truth not even known by whoever invented him. Looking for the next Bird 60 years after he's gone. So busy ensconced in a tomb, they all missed the man his own school wouldn't even give a concert to.....maybe a guy like that was playing outside the school for change. 20 years ago it might have been Charles - maybe the other Charles (Brackeen) is still able to play out in LA if he's still alive at 75 ?!?! I guess these teachers missed them all as they were looking for the Bird who would only play Bird redux. Race? I didn't even think of it until I opened this thread today. Ethan is off the deep end with that incoherent rant. Talk about pigeonholing and stereotyping. Lordy Fucking Lordy No more devotional drummer in this world than the *great* Randy Peterson devotional to the family and the ultimate anti-groove Let The Horse Go

Lock someone in a chair in front of Tony Malaby, Michael Formanek & Nasheet Waits who has never heard jazz and get back to me. If you were at the shows last fall @ Cornelia Street, you might understand They may want to run and hide after a bit but within the hour, I say many would like it or even be blown away. My wife loves it live. My wife loved Evan Parker live. In duet with Sylvie Courvoisier. No drums, no tunes - pure free improvisation. Loved it. She is a pop music fan. Don't underestimate the ears of potential listeners and don't underestimate the power of world class improvising musicians. The idea that no one would get into "jazz" through the avant-garde is presumptuous at best.

Seconded RIP, sir!!!

Have to include a track from Interstellar Space One would be surprised what a new listener is capable of hearing

Yes, it is listed as a record release engagement. I liked Matt Mitchell with them when I saw them @ Cornelia Street last time but I'm fired up that Taborn is in the band this time.

Also gave mine up many years ago during some hard times - for probably way too little if I recall. I've re-bought all my favorite sessions except Monk 5 by 5, I think I've never been a fan of the first two trio sessions and the last live recordings are hit or miss fairly rote dates. The heart of the box are the great band recordings from 1956 through 1959. As most know, they are some of the greatest Monk recordings of all. For me the only other Monk that compares are the original blue notes and the prestige trios from 1952 and 1954.

@ Cornelia Street Cafe - 2 sets each night - 9:00 & 10:30 I be there on Saturday 2/28 Chris Lightcap: bass Craig Taborn: piano Tony Malaby: tenor saxophone Andrew Bishop: tenor saxophone (new to me - and the band, I think) Gerald Cleaver: drums Very fine grooving mix of in and out Here's hoping Taborn has the Wurlitzer as well as the club's baby grand piano

As someone who knows her well has said - "she really doesn't know how great she is". My limited experience in interacting with her is that she is humble and very kind.

Sten Sandell Trio + John Butcher: Strokes Love this performance

Grant Green with Sonny Clark, Sam Jones and Art Blakey

My favorites of the locals that are closely or somewhat related to her that I think very highly of include Ches Smith, Ingrid Laubrock, Tom Rainey, Tony Malaby, Taylor Ho Bynum, John Hebert, Thomas Fujiwara, Mat Maneri, Kris Davis and Nasheet Waits, among others. Of course there are more well known musicians like Tim Berne, Anthony Braxton that she learned from - but the above group (and many others) are all extraordinary improvisors, Some of them, IMO - including Mary - are among the greatest musicians in the world.

I agree. I thought the John Szwed book was excellent. Plus I read it fairly recently while I read a bunch of others well over 10 years ago.