Steve Reynolds

Mad Dogs - On The Loose Looking forward to many listens to this one, then I look forward to more listens to the first one.

Tamarindo this past fall with Malaby, Formanek & Waits Tony Malaby Adobe Trio with John Hebert & Billy Mintz a couple of weeks back Kidd Jordan with Dave Burrell, William Parker & Hamid Drake @ Vision Fest Peter Brotzmann with Jason Adaciavicz and Hamid Drake @ Winter Jazz Fest Ches Smith Trio with Mat Maneri & Craig Taborn @ Greenwich House Tony Malaby Quartet with Jeff Williams & Ben Monder in the band Lucien Ban/Mat Maneri Quintet (second time) with Bob Stewart, Tony Malaby & Billy Mintz Tyshawn Sorey duo with Fay Victor Evan Parker with John Escreet, John Hebert & Tyshawn Sorey Evan Parker with Joe McPhee, Barre Phillips & Chris Corsano Tony Malaby's Paloma Recio Tom Rainey Trio with Mary Halvorsen & Ingrid Laubrock Nate Wooley's Seven Story Mountain @ Winter Jazz Fest Ray Anderson Pocket Brass Band quartet & quintet One more to come this Saturday - Open Loose with Mark Helias, Tony Malaby & Tom Rainey - here is hoping it joins the list Wonderful year for shows Giants Walk This Earth

The Ayes Have it (1991 session), 50th Birthday Concert, At the Vortex and The Two Seasons (this one especially - although I stupidly lent out my 2 CD set) contain some passages on tenor recorded at his peak (1990's) that are as facile on that instrument as any tenor saxophone ever recorded. There are sections on The Two Seasons where the younger guys drive Evan to awesome heights. Really his "free jazz power trio" record. Plus it is recorded in powerful up front sound. John Edwards and Mark Sanders also sound as good or better than on anything they have appeared on. As undervalued a recording as exists in EP's catalogue For me it is ultimately is the most undervalued and overlooked great recording that I know of, period.

Basically that this particular track, "Verano" from "Around Small Fairy Tales" has been compressed and clipped; the peaks don't have any room left under the 1.0 line, which is the maximum amplitude that can be represented by the digital file. And indeed it sounds loud from start to finish, harsh and fatiguing. Have you done the same analysis on the original CD release?

Around Small Fairy Tales on the original CD is one of the best sounding recordings of a large band I've ever heard.

I would agree with that last statement, both from recordings and live. I may prefer to hear Evan on soprano in a live setting - it is such a full striking force of sound experienced in a typical setting that one would see him play live. Being a few feet away when he does what he does on that horn is a mind blowing experience. Along with one other saxophonist, he is my favorite living tenor saxophonist - I think he comes across very strong on record on the tenor. So on record, since I hear the tenor range better, I prefer to hear his tenor playing on recordings. I especially like formats like trios with drums and bass or drums and piano. I like to hear him improvise at length on tenor -

That's a lot of good listening there! My friend bought the Clifford Jordan box and he loves it. I just spent my first of 3 Christmas celebrations at my sister's house in Ferndale, WA which is just north of Bellingham as you may know. Are you going to get time to head down to Old Town Antiques on Holly street for a little record shopping!? I used to love going there but have not had time to go there in many years...have many fond memories of record shopping in Bellingham at places like Golden Oldies, etc... I really, really want that Clifford Jordan set

Nothing wrong with the sound of Rainey's drums!!! (Same kit!)

I am an Indian is my favorite recording from the wonderous little band. Certainly the most driving of their recordings Last night @ the show: BassDrumBone: March of Dimes Ray Anderson Pocket Brass Band: Sweet Chicago Suite Today: Herbie Hancock: Empyrean Isles Thelonious Monk Quartet: Misterioso Andrew Hill: Judgement Bobby Hutcherson: Dialogue Nice to pick up some classics I no longer had due to the wreckage of my past

Half way through the second set, Ray says they gonna play some "funk" He decides on the "new" funk tune. Only thing I can compare it to is Theme a Yo Yo from AAOC. Stunning composition and arrangement and even moreso the execution of the ensemble sections were breathtaking. Ray remains as great a trombonist as exists in this world. And his spirit uplifts everyone on the stage and in the crowd. Ingrid tore it up and out after playing some sublime more traditional stuff before and after. Not sure Lew ever heard her before. He seemed stunned that a world class tenor player was right in between him and Ray. Then some "old" funk with Ray, Lew and Ingrid walking down the row towards the end. Rainey played old school trad meets new school - the guy next to me was shocked by the whole thing - trad meets the avant-garde. The combo of Davila on the sousaphone and Rainey playing almost all groove all night was thoroughly invigorating. First set was the Chicago Suite with classic Ray Anderson announcements and introductions. There isn't a nicer guy I've met in this music. Music was gorgeous, swinging in old and new style with Rainey the engine. All this being said, my highlight for the night was Lew Soloff. In and out, supreme control of the horn with high notes worthy of any if the great swing trumpeters. And his vocal comments were supreme. Rainey!! Rainey!! And a few of us were yelling as well. How can you not when a band plays with this much fire, verve and ultra swing? Marches, down home blues and tradition New Orleans jazz all rolled into Ray Anderson's creation - a band he says is near and dear to his heart. Another band for all tastes - only not for those who already think they know what these musicians are all about. Talking to Ray between sets, I said that I thought that maybe the reason so few people hear this music is that it's reputation and the actual music have nothing in common. A big smile and he agreed. Another missed opportunity for those who live just a bit in the dark. But happily not missed by me - I always make an effort to see the *great* Ray Anderson - glad I got back in time from a business trip to go in last night to see this music that is impossible to pigeonhole except that it is as jazz as jazz gets - and it is as alive as alive is. Ancient to the Future, baby

In ~ 30 minutes They be warming up @ The Stone Ray Anderson - trombone Lew Soloff - trumpet Jose Davila - sousaphone Tom Rainey - drums Ingrid Laubrock joins on tenor for the 10:00 set

Clusone Trio - title track of Love Henry Demands to be heard

Sometimes I feel this way However do what you can to hear Evan Parker live on the straight horn As full a sound as one could imagine

Ignoring Evan Parker

Have you ever listened to Evan Parker?

Evan Parker - start anywhere - best to hear his tenor as well At The Vortex, baby

I think Lovano has a personal sound I've never been interested in the other two Fwiw I could care less if Sonny or anyone else could identify those guys. Many years ago, I had a dream he decided to play with one of maybe 10 great modern day drummers....but I then woke up.....

Exactly The *great* Ray Anderson this Sunday with the Pocket Brass Band Another living legend - and one who refuses to cruise

I'd rather see and hear great tenor players playing with great musicians. I see and hear regularly. I just saw one last weekend. A great tenor man at his peak. Ignore or demean at your own peril or loss. I refuse to deify. I believe I see and hear musicians (including tenor players) who are as great as the legends - alive or dead. Young or Old Blue Winter, baby

Mad Dogs - On The Loose The 3 CD Thomas Chapin set - Never Let You Go And I re bought a slew of 1956 - 62 Jackie McLean recordings inspired by the multiple threads.

Above @ Cornelia Street Cafe First piece a warm up Second piece on soprano - very fine playing with the energy level increasing Then we get the trio starting to crank it up a bit with a piece that was penned by Mintz. Then one of the two or three ballads, or balladic pieces if you will, of the night - great tone on tenor and great brushwork but these pieces only go so far with me. Then we get "We See" which is the first time I hear Malaby play Monk Close to what ICP does with "Jackie-Ing" or "Criss Cross" Pretty fucking incredible to my ears. And Billy Mintz by now is elevating Then a Lionel Hampton ballad and they close the first 70 minute set with some awe inspiring groove piece that had the whole trio playing at the next level. Second set starts with an subtle piece with some terrifyingly agile playing by Malaby. Then comes another Mintz piece that we find out is called "Cannonball" Oh my Lordy Lordy The *great* Billy Mintz takes about 7 or 8 minutes to build this groove - by 12 or 15 minutes it has exploded into one of those pieces that is beyond genius. Malaby by now is playing out of his mind. Then the last ballad. I guess we/they needed a break Second soprano piece follows - this time skronky, oblique with some terrific Hebert bow work. My wife didn't like this so much - for me, right down my alley - fine insect inspired piece Last piece ends up with another Mintz groove with Tony playing the best tenor I've ever heard him play. Full range of the horn - full concentration and focus - elbows flapping left and sometimes right - the man right now is playing as if possessed. He has it all going on. He is playing better than ever. As many of you know I've seen him often over the past number of years - but these last two shows.....wow Time for some serious music listeners to take note and come see the man live if you are interested in hearing a truly great tenor player. And also it is great to see Mr. Billy Mintz in an open yet structured (all compositions ) like this. He develops magical grooves and the sound he gets from the bass drum and toms is simply magnificent. Understated yet very powerful last night. If this sounds like fanboy shit - too bad - a few of you maybe oughtta check him out live rather than keeping him on ignore - so those near NYC come by on 12/26 or 12/27 and see Open Loose (at the same great little venue) for the Mark Helias led trio with another version of Tony Malaby on tenor with the *great* Tom Rainey at the kit.

Tony Malaby with John Hebert & Billy Mintz 9:00 set time

I despise Christmas music

Wow

I guess I cannot miss Friday night I try to NEVER miss the great Instant Composers Pool ICP then to Minetta Lane Theatre for David Murray Trio, Trio 3 + and then the Ribot band which I see includes Mary Halvorsen - if I can make it I would stay up for Bennink/Caine No way I can do 2 nights in a row - I'm too much of a......well you know