Steve Reynolds

The new box is listed @ 59.99 on amazon plus 3.99 shipping in US Not bad - will order for delivery for the holidays. My guess is that it is more from the same festival as the Parker-Guy-Lytton and Tarfala sections would make the combined playing times for both discs for those trios about the time of a typical hour set. If true, it will be very interesting to see if the music compares favorably to the very strong presentations of those great trios on the first box. I am especially looking forward to hearing the two Fernandez duets with the two drummers as well as the two larger ensembles. For those who have not heard the first box, there is little to nothing on the 5 discs that is filler. Now we need not two to get the rights to release the full orchestra performances that must have ocuured during the festival week. Usually those performances/releases have been on Intakt. The sound on that label is excellent but the mastering/sound on the Mad Dogs box is even beyond that.

Give me twenty: Side one of Tago Mago Or: Ella Guru, Moonlight in Vermont, Well, Orange Claw Hammer, Veteran's Day Poppy and then back to track two: The Dust Blows Forward and the Dust Blows Back

I simply think the Shorter blue notes with Joe Chambers have a great groove and that Etcetera, Adam's Apple and The All Seeing Eye have a special vibe even beyond fine recordings like Juju or Night Dreamer. I've heard the later blue notes being discussed years ago and it confirmed to me (rightly or wrongly) that the early to mid 60's Shorter would never be approached again. Still balking at trying Without a Net - I didn't like any of the earlier recent quartet records and I don't like his sound on soprano saxophone. BUT upon relistening to the classic blue notes, they rate for me above almost anything released on the great label at that time - their (and his) legendary reputation are very well deserved

Etc

I went last year for one night. I had a great time. Only problem is very limited or no seats - but I found a way at my main venue to get a seat and move it up to the front left corner of the stage.

Happy it is in Manhatten I don't like the space. Hope there are decent chairs (or any chairs) Hope there is AC that works (or any AC) I love the roulette space although the drive is long - I usually go to 2 or 3 nights but last year it was only the final night but it was great, the sound was great and the seats and view were great. Overall I'm disappointed they moved the venue. The previous venue before Roulette was horrible. Hot with awful sound. This should be better but I'm not thrilled at all.

Is that on Maya?

Topos? Never heard that the augmented with Agusti Fernandez Parker-Guy-Lytton group had a name. In any event, the pianist is very effective digging into the great long standing trio.

Yes the original packaging is a nightmare The music is beyond brilliant and it is simply the best sounding free jazz/improvisation recording I've ever heard. One has not heard Tarfala unless you've heard them live (an unfulfilled dream of mine) or the first box set. My favorite section of the first Box rivaled by the Parker-Guy-Lytton-Fernandez set.

Looks less expensive than the first box Line-ups look very enticing Holiday present for me!!

Might not be real. I know quite a few older recovering addicts with perfect looking teeth. Most of them are not original.

Thanks for the comments all on that dream show!

I try NOT to keep up with all the new releases as I might buy too many.

Thanks for the comments, Jeff I'm kinda dyin for a live show - nothing for me for all of November - that hasn't happened in a while - next possibility 12/8 (Fred Frith Trio) or 12/13 Malaby trio with Hebert & Mintz) next sure bet 12/27 is Open Loose - record release as it says a new CD on Intakt(!!!) Good news - at least 3 great shows @ Greenwich House in January/February: Joe Morris quartet with Mat Maneri, Chris Lightcap & Gerald Cleaver - 1/22/15 Andre Matos Quintet with Tony Malaby and then Jacob Saks Quartet with Mat Maneri 2/7/15 Then Ideal Bread + Outhead (another band with Josh Sinton) on 2/12/15 - I need to see Josh Sinton live - very excited for this show

Paul Bley is as beautiful sounding as any pianist I've heard yet his music never goes to that place that Leeway is speaking of.

I'm on the email list of Conundrum Music Hall, a tiny, but adventurous little venue in Columbia. Very much look forward to hearing your impressions of the band

I missed the trio a couple of years back when I had to leave before their set in Brooklyn when my wife wasn't feeling well. I did see a great quartet set with Travis Laplante, Mat Maneri, Michael Formanek and Randy Peterson I really wanted to hear Nilssen-Love directly after hearing Randy blow the roof off I Beam in the 8:00 set.

Who is on the trio? Swell is great in this sort of band.

Anything can be stultifying if the creators let themselves be stultified Agreed - but it is much easier to be that way if nothing is being attempted. I once walked into the basement at the Knitting Factory and saw a tenor guy truly just trying to mimic late period Trane and it was another version of the same thing. I've also seen Dee Pop try to play "free jazz" drums. So yes, it comes in all forms. Maybe the worst are those who say they play "creative" music. At least the guys playing hard bop like it's 1958 have no pretensions about what they are doing.

Lost my best post. LOL Not always linear but if one plays the same material the same way, get ready for more of the same Some of these guys won't even make a record without a piano, organ or guitar Stultifying

Another point that may not be well received When the new "mainstream" or "neo-bop" guys make recordings with names like "Cookin" and continually record the same or similar standards and have the same theme-solo-theme format and have the same drum rhythms and same walking bass lines and even album covers that try to equate to the famous iconic covers of the 50's and sixties, it screams in quotes. It's almost a deliberate (maybe it is deliberate) attempt to make a statement that anything even associate with the "out" or "avant-garde" never existed or doesn't exist and us somehow outside of that "mainstream". And I've listened to a whole bunch of it back in the 90's and early 00's - and I never heard anything from the Eric Alexanders or the Joe Magnarellis or David Hazeltines that was anything except what I had heard on records from the 50's and early 60's. It sounds like time stopped and then we hear technically accomplished musicians playing something that already has been done. Maybe something has changed in the past ten years? The album covers and the instrumentation and song titles look just like they did in 1998 to me.

Thanks for the post, Larry As I grew up late in this music - starting to listen about 24 years ago starting with Miles, Monk, Evans, Mingus, Coltrane - and then exploring Ellington, Armstrong, Parker, Gillespie, Eldridge, Hawkins, Young, Tatum, etc. Started with the big names - the ones I heard about or read about - and I liked some musicians or eras more than others. I like Ellington's sound from the mid to late 50's onward - I liked Coltrane or Rollins more than Parker. Some of this because of sound quality, but I liked the hard bop drive of the 50's and early 60's music. I had never heard anything with the energy of Mingus' At Antibes or Blues n Roots. Of the swing era musicians I found a soft spot for Ben Webster, Benny Carter, Roy Eldridge and the atomic era Basie Band. I've never developed an affinity for Lester Young for whatever reason. I never planned on listening to anything but the above because I didn't know it existed. Sure I listened to the Ornette Atlantics and then a couple of 50's Cecil Taylor records. Then some of the inside/out mid 60's blue notes. The. I saw a Mal Waldron recording on tutu @ Crazy Rhythms in Montclair and I found a quartet from the 80's that was different. Then I saw a few black saint and soul notes - then came David Murray - then back to Albert Ayler and then Thomas Chapin, etc. I still loved Hank Mobley and Art Pepper - but when I heard something like Hemphill's Flat Out Jump Suite or DKV Live in Wels and Chicago - or many others, I found a music that really captured my interest more thoroughly than anything I had heard before in some ways - not better than A Love Supreme or Far East Suite or Soul Station - but new, current and made by musicians playing now - and much of it was very challenging - AMM, Evan Parker, Misha Mengelberg, Anthony Braxton, Art Ensemble of Chicago,etc. Or very unique to my ears and special - Gianluigi Trovesi or Thomas Chapin. But like music to be challenging, gritty, unpredictable and I have always loved high energy music - so in a broad way - the avant-garde in most of it's guises - was and is the music that I'm most attracted to - more than the rock of many stripes that I grew up with and still like or love - or newer rock - or Wayne Shorter's great blue notes of the 60's - I loved rebuying Adams Apple to hear it for the first time in ten years - but getting the new 5 CD DKV box or when I got the Barry Guy Mad Dogs 5 CD box - more than love. Then I started going to see the music live - and although I had a gap from ~ 2004 through 2009 when I saw little live jazz - but now it's quite often for me - and it reinforces how vibrant and in the moment the current music of this sort is.

Metamorphosis from Bill Dixon's Intents and Purposes Stunning to finally hear this for the first time here in 2014

Agreed. That was the CD I used to have years ago. It was so muddy if I recall. This CD sounds incredible as I expected based on the great Flight for Four reissue.

I forgot my favorite - Instant Composer's Pool - wonderful orginal material - plus IMO no band plays Monk as well as this amazing band - even without Misha Mengelberg who now can longer play. I saw them on Misha's last tour play the most invigorating version of Jackie-Ing one would ever want to hear. No drummer swings like Bennink when he goes down that path.