Steve Reynolds

Pere Ubu: Heart of Darkness

I also saw Joe Daley years back with Eskelin-Parkins-Black with Eric Freidlander also added to the trio. They have a recording of the trio + 2 on hatology. I remember being very impressed with the show although it must have been almost 15 years ago so it is bit foggy. I think I'm going to dig up the CD for listening this weekend

Marcus Rojas Saw him Summer 2013 with Michael Moore's "American" Available Jelly Check out the band, Mark Michael Moore: alto saxophone & clarinet Ellery Eskelin: tenor saxophone Tony Malaby: tenor & soprano saxophones Ray Anderson: trombone Marcus Rojas: tuba Gerry Hemingway: drums Plus the one 70 minute set was even better than my very high expectations. Never played together before or since - and the music is not easily translated as the original version(s) of the band have been playing variations of this music for maybe 25 years.

Live recently at two shows this year Bob Stewart laying down some monster grooves with wonderous improvisatory twists with the sometimes wild Lucien Ban/Mat Maneri Quintet. The second show this past Summer had the band firing on all cylinders and Bob Stewart is a main reason why. This band needs to be recorded. Dan Peck is a fine NY musician while Per Ake Holmlander (sp?) is a big favorite with the Barry Guy New Orchestra.

One of those legendary recordings that completely lives up to it's reputation. Disc 2 is just about as intense as it gets on a recording. I guess I would have passed out if I had been there live - well 1993 was before I ever heard of Anthony Braxton - and if someone - even a few years after that - ever mentioned that this band may be referred to as his "classic quartet" , I might have thought that someone was quite insane. Recordings like this are worth the money, plus as many of us know, reissue is doubtful

As you say, this sort of stuff - even moreso than a less intense music - is far better live for sure. Also as you've said this is NOT background music. It takes and demands full attention and even a commitment from the listener - maybe even far ahead of the moment or time that it "works" for the listener. I've never listened to this stuff at less than 100% attention or less than at high volume.

Niels - I really am very glad that someone here (and I'm glad it's you) stepped up and ordered that 2 CD DKV Live in Wels and Chicago recording. Very interested to hear your thoughts after a couple of times through. Disc 2 demands to be played very loud Well, regarding the Wels and Chicago recording it was kind funny. I wanted to buy a DKV trio recording for some time now, and on the same day I listened to Don Cherry's Complete Communion since quite a while (and loving it) I noticed the DKV trio used that theme for disk one. Than on that same day I also read in the "Best track you heard all week" topic your comment regarding track 2 and 3 of disk two, so it was an easy decision after that. These 2 tracks are among the first I play for people who might have an interest in "that music you listen to that I didn't know existed" Then they wonder why Hamid Drake isn't famous Then I shrug my shoulders Blues for Tomorrow, baby

Just placed my order for my upcoming special day: DKV Trio - the new 5 CD box on not two - Sound in Motion in Sound Horace Tapscott: The Giant is Awakened Bill Dixon: Intents and Purposes Hal Russell NRG Ensemble plus Charles Tyler: Generation Bobby Bradford/Frode Gjerstad Quartet: Silver Cornet The Whammies play the music of Steve Lacy: Volume 3 Live Niels - I really am very glad that someone here (and I'm glad it's you) stepped up and ordered that 2 CD DKV Live in Wels and Chicago recording. Very interested to hear your thoughts after a couple of times through. Disc 2 demands to be played very loud

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.