Steve Reynolds

I wonder if Prevost is playing the trap set. One of the reasons why I need to get those Meetings with Saxophonists is that I understand Eddie is that he plays actual drums on those recordings.

Rub it in Maybe they have had to restock it. Got it. Order placed today I did also Discography back to correct regular pricing today. I'm waiting on mine to ship (hoping, I guess)

I did once see KV with Lytton and Lovens and it was a disaster. Granted it was maybe 12-14 years ago, but it didn't come close to working Exactly my thought as well. The trio with Prevost and Tibury seems incongruous, but it hopefully would reveal a different side to KV. I like what Prevost has been doing in his "Meetings with Remarkable Saxophonists," and his meeting with Yarde, I thought, was pretty engaging. I'm not too shocked therefore that he and Vandermark have hooked up. I'm still making my way to order those sets. BUT a disc with Tilbury is a whole other deal. This is KV with AMM for all intents and purposes. Maybe I'm off base, but I can't imagine this being a good match.

I happen to think KV excels in groove based situations I could be wrong but a series of duets even with those fine musicians doesn't interest me all that much I'm afraid to hear the two trios. Again, small form detailed improvisation from KV, for me, is not what I'm looking to hear from him

The DKV is a must for me. Great price this time as mentioned above

Band changed No Ingrid and No Mat Christopher Hoffman on cello makes it a quartet. Trying to deal with lower expectations

Those look like bad seats. :) Going to see The Cookers tonight. BTW I'm a little disconcerted by the reaction to some of the Clean Feed CDs earlier in this thread. For some (many) of us these may be the only way to hear these musicians at all. Better the CDs than nothing IMHO. Not meaning to be a downer for those who don't have the opportunity to see some of these musicians live. My one point might be that it is sometimes a bit of a shame that some of the recordings (not all on clean feed - as they did a good job on both Tamarindo recordings - not the one with Wadada - that is an obvious example of a blatent recording issue) don't capture the muddy as well as they could. I often give the example of Rodrigo Amado's Searching for Adam as an example of how it's done right. I may never get a chance to see him live but I have opportunities to see the other 3 musicians often - and this recording captures Cleaver and Hebert very close to what they sound like live. One other point - there are people who do have the opportunity to see these musicians live (although it might take some effort and commitment) and I and simply trying to express how awe inspiring it sometimes can be to experience this music when it comes off great in a small little room. Maybe trying to inspire those who could step out and make that extra effort to get to see some of this music live. People often say they wish they were there when and I often have felt that as well.....but Giants Do Walk This Earth Today Still........ Coming Down the Mountain

Mysterious, ambiguous, and enigmatic also describes Capricorn Climber. I think Kris Davis writes more interesting music, fwiw. Then again, my mind is still affected by that live Anti-House show when they didn't meet MY expectations!!! I am hesitating bringing a friend who is just a bit familiar with avant-garde or free jazz. Tim Berne or Tamarindo would be a much more apt live introduction to this broad range of music we are discussing

Rub it in Maybe they have had to restock it. Got it. Order placed today

Bev: *I* understand what I'm writing about!! As far as anyone else, it is up to them. I believe it is a very helpful tool for me to try to express myself about what I see and hear. Certainly much of it is simply an impression. It is very challenging not being schooled in music and never playing an instrument to even try. I'm sure my results are better than what they were 15 years ago when it was ALL fanboy rantings!!! The music which is different then more mainstream jazz or not purely free improvised music is often the most exciting to try to explain as I am trying to find out a little bit of what they are doing. The best aspect of this is that a good amount of the music being played near me (in NY), that I am interested in, is this "in between" music. It often defies categorization which ends up being a very good thing. Check out the recent pointofdeparture.org and go to the review of the recent Tamarindo CD. This is the best analysis if this band that I have read

Thanks for stating that. I sure think she has improved Tom's attitude! Leeway - On a serious note, maybe there is some truth to all of it. I was NOT taken in right away by Laubrock. The SECOND time I saw her was in the Spring of 2011 with Halvorsen and Rainey and I was floored by the trio - but it was still mostly Rainey as he was exceptionally awesome that night. That was also the FIRST time I saw Mary and for me, I was stunned by what I heard from her. So I'm sure they are all learning and building on each other and it will be at some point in the future to look back and maybe realize a bit more what was happening. What is thrilling for me is to be right in the middle of it - at least more than most - happy to get to the shows I'm able to get to.

I don't think she sounds like Malaby in the least nor is her approach at all similar. I'm not yet impressed by her soprano playing but I'm rarely impressed by anyone's soprano playing outside of the usual well known great soprano players. I do like that she uses the straight horn as a supplement and doesn't use it when it doesn't need to be used. In that way it would be a similarity to Malaby. Her sound on the tenor is cleaner (or smoother), less aggressive or assertive, and certainly she doesn't go near the limits of sanity as Tony does in the areas of free smaller or very abstract improvisation (some might say he blows right past sanity at times in bands like Paloma Recio - or any band with Ben Monder!!! - or often when he pushes into spaces or areas unknown). IMO, Ingrid is not nearly as adventurous (yet?) as Malaby - then again, very few are nor does Laubrock come near the almost ultra romantic tinge that Malaby veers towards in his balladic or slow playing. She has a much more standard tone and has nowhere near the vocal quality that Malaby has developed. So Tony, Jr?? Not hearing it I'm glad this discussion came up - I will be listening even closer on Saturday night to what I think is the most fascinating band she plays in. This quintet is the most mysterious band I've heard on years. Great ying and yang between sound, space, groove and the thoroughly oblique and she fits in perfect as she has improved as she has played with these musicians who have a bit to much more experience in these sorts of semi-abstract/free improvisation musical areas. Being married to one of the great drummers alive today doesn't hurt, either! Fwiw - I saw Anti-House a couple of years back at Vision Fest and I was thoroughly dissaponted as the compositions were too strenuous inorganic sounding (does that description work?!?!?) and took all the drive and energy out of the band. Halvorsen and Rainey were especially hamstrung by the structures. I kept waiting for the energy level or excitement to happen and I waited the whole hour until it simply ended. Not going back for more. On the other hand, Rainey's trio with Ingrid and Mary is one of my 3 or 4 favorite working units that play somewhat regularly in NYC. A perfect blend of compositional elements (no sheet music both times I've seen them) yet much more than improvisation. In fact, the trio is one of the finest examples of that ultimate balance.

I just switched plans for this Saturday night from the Ches Smith shows to Capricorn Climber which features Ingrid My experience is that he continues to get better and it helps that she is pushed by all the great musicians she plays with very regularly. With this band the last time I saw them in the spring she was NOT overwhelmed by the viola player which is a huge deal. Last time I saw her with Mary Halvorsen and Tom Rainey, she was damn near great.

I'm ordering within an hour or two. Let's see what happens

Mark - Malaby will get you, take you in, and capture your heart, mind & spirit It is simply a matter of time. You will hear the magic one day! Tamarindo, Baby

Maybe but it will never come near the visceral power and sound of being that close on that room and seeing, hearing and feeling it. The drums of guy like Ches Smith when it gets intense is not duplicated or even approximated by the best recording heard on the best system in the world. Some of the stuff shook my bones

Thanks for the follow up comments Yes - a very hard road to build energy and power within unique structures. The newer suite worked in spades. Dynamic overwhelmingly successful performance International Who Ha, baby

Decompressing from what was one of the most intense 45 minutes of music - a suite called International Who Ha - coming soon in some capacity on some recording that may give a listener far away from the actual band maybe some sort of idea what this band can do. They did follow it with a short fast groove based piece called Anxiety Disorder which was an apt more traditional ending piece that featured the incredible guitar of Ms. Halvorsen - another one if those combination bass line/rhythm thing that Smith seems quite fond of. Odd that every time I see her, I'm again convinced there is no other guitarist of any stripe I'd rather hear live. Her sound is the most striking of any guitarist I know of. First set too tight for me maybe I was hoping they would "open it up " until the last 15-20 minutes when they hit a few grooves (with increasing energy and verve) and allowed a few tight space improvisations from the horn players. Second set a whole different deal. Impossible to describe the tension they built with space and structure. Some if the written materials for Halvorsen were unlike anything I've ever heard. Berne was very involved, Parkins played some of the most draw dropping bass drones things on the accordion and as a whole in many different aspects, the *great* Tony Malaby played everything that is beyond possible within the very unique structures that Smith invented. From gorgeous balladic material to his elbow flapping amazing quick lines all the way to the howls, bursts and shrieks that make him one of a kind. There was a section towards the end that mirrored the best of EFI that morphed back into thematic material with Berne moving from the front of the space to the back while Tony seemingly invented new music. Ches Smith when needed provided as powerful a bombing of the kit as exists in this world outside of Gerry Hemingway or Randy Peterson. The *sound* of the kit, the bells and metal that he created last night were that of a master well beyond his years. Blessed to see this ensemble live - I can't explain to people who havn't seen a band of this originality and power in a great small room like The Stone how awesome the experience is. The power is immense when they crank it. The power is immense when they created pure spaces in the music. At these times the energy in the room is palpable. And there is never ANY noise from the audience at The Stone. All that can be heard are sounds from the street. Not sure if there was really a tempo during the suite. All tension, very little release. The tension at times was very very exciting yet almost too much. Once I dropped what I thought I was looking for in this band (you all know I love roaring wailing improv with the two saxophonists blasting away - alas that is NOT this band) and took them for what they are, I heard a band that is simply like no other - and more worth seeing and hearing live for that aspect of the group. I won't miss them next time or the next time if at all possible. Another example of new music that is really new, fresh and although part of me thought is would be some sort of pastiche, it is nothing of that sort.

Not mannered live. Very structured but very intense Second set starting in a minute or so - lights dimmed New suite promised by Ches More tomorrow

Front Row - middle. Fired up

It sounds quite a bit more than just "better" Seeing and hearing musicians of the caliber of Evan Parker or Tony Malaby or Tim Berne or Mary Halvorsen from a few feet away renders the recordings insignificant for weeks or months. Sure they are still enjoyable to listen to - and I loved recordings before I saw any of thus must live. BUT live is a whole different beast I could have touched Evan's tenor on the table or his right arm while he was playing the soprano. The SOUND of that tenor or the SOUND of the circular breathing right between my ears seeing him actually creating the music in the spot?!?!? "Better" is a huge understatement when it comes to comparing the experience of hearing even a great recording as compared to seeing them live, let alone from the first or second row at The Stone

Lots of clean feed recordings are weak - especially compared to what these musicians can be like live. I kind of have a feeling that live from a few feet away will be anything but weak. I've been waiting a couple of years to see this band live. I never expect a clean feed recording to capture what a band sounds like live. Capricorn Climber is awesome live / the recording is stale. Malaby's Novela is even more incredible than the above band live / the recording is "nice" and maybe a bit exciting at times. Overall nothing more than a three star record. Berne with Malaby plus Mary Halvorsen - with the great Andrea Parkins and Ches Smith on drums?!?!? I'm trying to lower the expectations in my head. We'll Let You Know

Tomorrow night : These Arches @ The Stone Ches Smith - drums Tim Berne - alto saxophone Tony Malaby - tenor saxophone Mary Halvorsen - guitar Andrea Parkins - accordion/sampler

Just to be clear here, heroin and other narcotics do not cause cancer but the effect of sharing needles as someone else stated can cause hepatitis which when untreated can cause liver cancer. If a person were to never share a needle and used sterile technique they wouldn't get hepatitis from IV drug use. Drinking alcohol when one has hepatitis already will only speed up liver failure. The human body is very resilient which is why someone can do these things for a long time before the body really starts giving up the fight. There used to be a hepatitis non A/ non B as it was what they called it if it wasn't A or B. I believe that is what ended up getting labeled Hep C. Thanks for this clarification