Steve Reynolds

Glad you posted this clip. For me, this is as good as modern free improvisation/skronk gets - the addition of the *great* Barry Guy is a very unusual yet successful addition to the trio.

No, why? He came along AFTER Gullin, didn't he? So he is automatically less important? And/or less of a baritone saxophonist?

Mats Gustafsson was mentioned *after* Lars Gullin and none of us are upset

Tarfala!!! The performance on the Mad Dogs box set is worth about half the cost of the 5 CD box. The first Tarfala CD is worth double it's cost Seriously

Just starting to listen to this guy. Am I hearing things or does he do the most apt yet incredible circular breathing on the beast during "Flakes" on volume two of the Ideal Bread Lacy music recordings? As of yet, this is my only exposure to Sinton, but I will be sure to get to one of his upcoming gigs with Ideal Bread or with his trio. I've rarely been more impressed on a first listen to a current or recent saxophonist than I have by listening to this CD. This guy plays in, out and with the full range of the baritone with a flexibility and technique that is rare on the big horn.

"Bitter Dream" was right in the middle of the second set - nice interlude before the trio takes it deep. As I said, Tony's soprano playing on Saturday night was very focused and a nice foil to his more exhuberant and very powerful tenor playing.

In the Spring it was with William Parker on the bass For last Friday and Saturday it was Tony Malaby on tenor and soprano saxophones, Nasheet Waits and Michael Formanek on bass in place of the regular Tamarindo bassist, William Parker. My pal Maurice is in line with the two other very regular concertgoers - one who was there on Friday night and one who was not - and the pronoucement was that last night was the best Tamarindo yet. Yes - the other guy and me figured maybe we missed the best night. Tony starts on soprano and it's all business getting to the tune, then switches to tenor and they are into one if those sinewy Malaby melodies with all that goes with it. Nasheet starts building his levels and peaks are hit quickly (for this band). After 25 minutes, the medley of a couple of tunes ends. "Mother's Love" with Tony on soprano showcased his best soprano playing I've yet heard live with drummer on brushes playing brushes like no other. Then they take off with two older non-Tamarindo pieces that go to places I've only dreamed this band could go. Intensity higher than in any Malaby band I've seen live. Tony taking the world of the tenor saxophone to places and ranges that the books don't write about. And hour and I'm outside getting air as I could have passed out. A young guy from across the way introduces himself to Malaby and told him he was a classically trained pianist and asked if Tony was trained as such. Tony only gave him hid pre NY resume but I found it a bit funny as if you had heard what was just played, well you had to be there - if you got my drift. Before that he was saying that the drummer probably didn't know the intervals he was playing but I did - since I'm a classically trained pianist. It's fucking Nasheet Waits, DUDE?!?! Second set started slower, had a fine soprano feature or two - one specific stand alone tune in the middle - and THEN - the man named Nasheet went into about his 6th or 8th different groove but this time by the end, the most powerful intense drumming I've seen or heard on my life. And Formanek was grooving and the big man on the tenor was not overwhelmed and was there with all the flexibility and might that his beyond technique could muster. The sound of those drums was as intense as is possible. Nothing like being within 5 feet of the drum kit of the *great* Nasheet Waits As good a show as I've seen in 10 years Tamarindo, Baby

!!!!!!

RIP to *the* first great rock bassist First real improvisor I listened to on the instrument Deserted Cities of the Heart RIP, sir

Not Two records for under the radar free jazz

Listening to Jimmy Lyons with John Lindberg and Sunny Murray earlier tonight - Jump up Lindberg as a very young man hangs with two legends and more than hold his own.

Tamarindo tomorrow night @ Cornelia Street Cafe 2 sets 8:30 & 10:00 Tony Malaby, Michael Formanek & Nasheet Waits

I think they've been practicing since then The Rowe/Parker duo disc from the turn of the century (exactly) is very good. Parker sticks to the tenor

I love Nipples and More Nipples Less condensed and more open than TOTL

Any comments on Monday night?!?!

Very important point. It took me over a decade to get through 20 minutes of music that had Derek Bailey playing on. I picked up Topography of the Lungs at the 9/9/14 Evan Parker show. I havn't been able to grasp it to any extent as of yet and I've been seriously listening to EP for about 15 years. My first impression is that it is bruising awkward improvisation that has the musicians sounding nowhere near as good as they would a decade or two later (at least Parker & Bennink). So I either give up and move on or I revisit when I feel the time is right. And this is regarding Evan Parker - maybe my favorite saxophonist We get this GUY making comments (the ones that Larry copied) when he has shown no inkling of understanding what else was happening then (AAOC, AACM, Little Theatre Club in London, the circle of musicians in Germany - Brotzmann, Von Schlippenbach, etc.) I realize at that time, very little was known or heard about regarding any of the above - but if one is writing NOW, one should be informed. Let alone the great history of post-Coltrane free jazz/avant-garde.

Brian Morton (co-Author of Penguin Jazz Guides along with the late Richard Cook) is a excellent writer on this music. I single him out as it has always been mysterious as to which if the two wrote what or liked what, etc. Reading Morton's contributions to POD have me remembering that voice within the jazz guides that I read all those years ago. Among many of the positive aspects (unless less one wants to focus on the negative of those guides - they skewer soul jazz and never gave the time of day to Gene Harris or whoever - and they are Brit centric?!?!?) that I gained from reading these guides intensely for years is that they were not in the deification business. They had the audacity to give 5 stars to BOTH Ascension *and* 50th Birthday Concert. (That second recording is an Evan Parker release with the two great long standing improvising trios - both recorded in 1994 on the same night - issued on Leo) And when I first saw the labels Soul Note, Black Saint, Leo, FMP, SLAM or hatART listed - and being new to jazz, I started to treat listening to those records just as I did to Impulse, blue note, riverside, contemporary or prestige. What a gift On the subject above, the skewering of Late Period Coltrane was once commonplace. At least today, it's a more minority viewpoint. Today when the old dead end, killed jazz, don't get it, all sounds the same, just squealing, blah fucking blah diatribe happens, at least now many of the responses veer towards statements including turd or whatnot. See above Thank Jah for that - thank these boards for some of that. Thank the above posters for that.

Thanks, Ulrich

Quite a trip! We almost headed over to Cornelia Street for that Ben Allison band as we took my brother and sister-in-law to Katz's for a special NY experience. I was intrigued by that band as I like Seabrook and I was wanting to know what two guitarists would sound like in a quartet in one of my favorite small rooms. Very glad you enjoyed your trip. You show great energy and passion in attending so much live music over a short period of time. I wish I had more energy and time to see more live music Next show - Tamarindo this Saturday at Cornelia Street Cafe

About 50 years ago saw Reggie Workman with The Jazz Messengers and was knocked out by him. Amazing that I saw Reggie last summer and he is still great. I think he's had a good run so far

John Lindberg is a great bassist. He is especially brilliant with the bow - which is very much a prerequisite for me when listening to post bop or free/avant-garde bassists. It has always been my premise that advancements of the techniques and approaches on the bass has been more prevalent than on other instruments Jump Up with Jimmy Lyons and Sunny Murray shows he was a great bassist at a very young age.

Live - Barry Guy and Paul Rogers were beyond anything I could have imagined from listening to the recordings Rogers with Paul Dunmall & Kevin Norton @ The knitting factory maybe in 2001 with his custom bass still the best performance on the bass I've ever witnessed live.

Big Band and Quartet is essential - especially due to the debut of the wonderful Oska T along with a great version of Four in One with a superb arrangement and execution by the large ensemble. The only regret many of us have is that Steve Lacy (famously or infamously now!) only plays in the ensemble.

My absolute favorite of the late 70's, 80's & 90's for what he played with Air and especially those records with David Murray One of the guys I really regret not being able to see live. The day he died was the same day I walked into the Velvet Lounge for the first of two visits when it was on Indiana Avenue. Ari Brown, among others, played that night and I'll never forget that Fred Anderson made sure in the midst of quite the snowstorm that my friend and I were able to get a taxi back to the hotel. I knew what I already knew from hearing that sound on record that he was the real deal Off topic - but my second time at the Velvet Lounge was with a friend who posts here - and got to see the great tenorman play at his home base

John Edwards is one of the 3 or 4 musicians that I have not had the opportunity to see live that I would love to see live. I love most of the bassists on your list. My preference is towards the Peter Kowald influenced or free improvisation area when it comes to bassists. I love the NY avant-garde scene - Mark Dresser, John Hebert, William Parker, Mark Helias, Max Johnson, Trevor Dunn, Ed Schuller, Michael Formanek, etc. - all wonderful players with Dresser & Helias at the top of the local list for me. However - when it comes to current bassists, my list is John Edwards, Barry Guy and Paul Rogers. Intense brilliant improvisors who have taken the limits of the instrument to new levels