Steve Reynolds

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

Just a not so subtle way for some to express their political angst on a board which has smartly (IMO) banned political discussion I don't live in that world either.

Choose the prime great shit Recent examples: Mad Dogs - 5 CDs culled from a number of nights of the members of the Barry Guy New Orchestra William Parker - Wood Flute Songs - very small amounts of non essential music among the 8 discs

Wickets by Steve Lacy Four from Morning Joy - recorded 11/19/86 With that incendiary Steve Potts alto solo followed by a sublime Lacy indescribable excursion on his horn. 16 minutes of perfection Maybe someone somewhere will try to duplicate it! I wonder who would play *those* saxophone solos?!?!?

I listened to it last night. It's very sparse and introspective overall, going to take some concentrated listening... I preferred Koan to Oblique so that whets my appetite to hear it's sparse His concert drumming has been anything but sparse lately, seeming to follow an entirely different trajectory. But it was the sparse, minimalist music that Tyshawn mostly made himself known to the listening public. I would be most interested to see Tyshawn play piano in concert. He was fantastic on the piano in a duo with Fay Victor I felt bad for her when she went over to the piano bench *after* Sorey returned to his drum kit. It actually took him a few minutes before he struck the actual keys - but as with his drumming he is grooving and swinging long before we hear it.

Anyone know if it includes some of the last performances with Misha?

Nice post. Yes I saw some reference(s) above claiming that some question the "rite to play" or "rite to perform" this or "45 minutes of cacophony" as if there is someone saying they should NOT play or record what they want to record or perform. They or others may get grief for recording this. Certainly many here who might refer to or describe an incredible 45 minute free improvisation as "45 minutes of cacophony" has an axe or many axes to grind regarding music they don't like. So a passive aggressive insult works better for some, I gather And NO, I will keep up my enthusiasm for current day improvisation being recorded and played live by modern day master musicians/improvisors. And no one is negating anyone's "rite" to not be moved by avant-garde forms of jazz, but calling it negative inaccurate names is simply an ignorant half-assed put down.

I will buy it just to hear it. I would rather hear them play the 5 tunes live in order with a second saxophonist playing the alto or tenor (whichever horn Irabagon wouldn't play). To hear Peter Evans take the music on on the spot would be much more exciting. Of course he is now no longer in the band - plus I doubt they ever intended to play it live one take. I've (surprisingly I guess) never heard the band on record or in person although I've heard Evans and Irabagon live and on records. Both horn players are very talented and have a very wide range of abilities.

Thanks for the comments. I'm *still* irritated I couldn't get to the Friday night set.

Irritated I couldn't go see Open Loose last night Still!!!