Steve Reynolds

Isn't "Sky Piece" Thomas Chapin's last studio recording? If so, he saved the best until right before the end

I'm most interested in jazz as a living breathing music of the present. Living and working musicians plying their craft to carry the tradition forward. Of couse it should go without saying that I love the music of the past and I owned or have owned much of the past music on CD that is of interest to me. But I am totally uninterested in jazz as primarily a historical or museum piece or as a collectible based hobby. This is not what jazz is. I'm a music fan who discovered jazz when I was around 31 years old and I found my way through the music through my inner motivations. From Bill Evans to Mingus to Ellington to Dunmall to Misha to Monk to Waldron to Braxton to Hemingway to Miles to Clifford to Mongezi Feza to Brotzmann to Shorter to Tony Malaby to Joe Maneri to Hamid Drake to Fred Anderson to John Stevens to Evan Parker to Hank Mobley. It's all one music to a great extent to me - and it's always been at it's absolute best when performed and heard live. Of course we can't hear the musicians of the past in person but I do know that Giants Walk This Earth Standing on a Whale Fishing for Minnows

Those sorts must go to Jazz @ Lincoln Center No I'm not into retro swing or rockabilly. I'm interested in music other than jazz, but those interests ever towards certain types of rock and electronic small form improvisation.

"Sneering attitude of pure jazz fans themselves" Huh? "Not some 'far out' music where you just sit and nod your head in pensive contemplation, marveling at your own sophistication of being there " Really??? You've experienced this at "avant-gradish" or "free" jazz concerts?? I don't know any listeners like this. The people who go and some go often - they go because the music is invigorating emotionally and yes - sometimes intellectually. Fwiw, I never sit there pensively listening. Most of the music I see live has it's roots in older jazz - and most of it is easily enjoyed live by opn minded listeners. Granted some of the free improvisation is not easy listening - for example a 2 weeks ago Friday a trio of Tyshawn Sorey, Kris Davis and Mat Maneri was, at times, rough spiky and even grating. But that is an exception. The trio the night before with Maneri, Craig Taborn and Ches Smith could have been appreciated and enjoyed by anyone who hadn't already decided that the "avant-garde" is some "far out" music that is only enjoyed by so-called sophisticated jazz listeners.

RIP to one of the masters of all the worlds of jazz and improvised music

I work with and associate with a fairly wide variety of people and very few have any idea about the music I listen to that falls broadly into the jazz/improvisation umbrella. As far as the younger people - let's say under 35 - very, very few of them even have an idea of what jazz is or even might be. MAYBE they MIGHT have heard of Miles Davis, John Coltrane or Duke Ellington - but even that is unlikely. How about Chick Corea, Pat Metheny, Herbie Hancock or John McLaughlin? Very doubtful So what about a current jazz star who plays major clubs or festivals like Chris Potter, Terence Blanchard, Fred Hersch??? Never They probably have heard of a Marsalis but they wouldn't even know what that means. BUT I've found a music fan or two and brought them to a show or two and they are stunned every time that a music of this quality, verve and energy exists. Then again, I pick very cool shows:)

Plus it makes for the best avatar.....

Same here. One day I will take another swing at it.

Often for addicts, we have "wanted" to not drink or use too much or to excess - and we have almost always or always (100% of the time) had VERY little or NO success in moderation - whether it be "hard" drugs or the most insidious of all drugs for an addict: Alcohol It is very clear that Coltrane suffered from a long and severe active addiction for something close to ten years up through 1957. Moderate use of alcohol after quitting the "hard" drug is usually not possible. It is often stated as such but normally that addict eventually drinks to extreme excess or reverts back to their "drug of choice" I cannot recall any of the biographies that I've read (many but mostly quite a few years ago) stating that he did anything other than quit all heroin use and alcohol use - all in 1957.

My understanding is that Coltrane kicked heroin in the spring of 1957 and along with that, stopped using alcohol as well. He often drank heavily prior to that especially when sick from heroin withdrawals when he couldn't get enough to keep him "straight". This is a very normal pattern for using heroin addicts. I can't imagine that an addict like Coltrane would have been able to moderate his alcohol consumption after getting clean from heroin. Lon - hasn't there always been some confusion on when the studio sessions were recorded with Monk/Coltrane - April through June 1957? Didn't the quartet function live through the second half of 1957 with some concerts in 1958 as well?

i think that i recently saw a quote in either the early fuji discography or the jc reference, something like: 'despite giving up drugs and alcohol, coltrane continued to smoke [cigarettes] for the rest of his life'. i think the consensus is that he stopped drinking. My understanding as well. I had never seen or read anything anywhere that claimed/documented that Coltrane was drinking alcohol over the last 10 years of his life.

I was there last night. Some "CD Release Party", huh? You would think that announcing a show as a "CD Release Party" you might want to have the CD available for sale? Nope. No CDs for sale at all. Start 20 minutes late? No problem. Leave after an hour and 10 minutes ignoring the crowd (hint: your fans) asking for an encore? No problem. Hang around to sign your new CD at your "CD Release Party"? Huh? What do you mean, "hang around"? We high-tailied it outta there and disappeared. We don't do no stinkin' autographs. I have a problem when the audience is all set and ready and the band is way too slow in starting. One night Tony Malaby had his "Reading Band" with Billy Drummond on drums and they were very late for the first set and much too slow getting back to the stage for the second set. The music was still very good but I was irritated, my wife was very irritated and there was no reason for any of it. They were at the back of the room messing around rather than getting to the business that we were all there for. My wife noted that with Tamarindo with William Parker and Nasheet Waits that Tony was much more serious, on time and focused. She thinks it's because of William Parker and his serious vibe and I tend to agree. This past Tuesday Evan Parker started at 8:05 and 10:07 and gave us 70 minutes for each set. Room was packed and ready to go and he obliged in a very professional manner. Very nice was to start the sets eliminating the given "start 15-20 minutes late" standard that seems to exists. I know in the past it was worse but starting promptly for me leads to a better atmosphere and better reception/interaction with the audience.

Looks like carved stone of some sort to me. Plus it's on not two so that usually means stunning audio quality from my past experiences with the label save for 2-3 exceptions - alas they are not the quality equivalent of hat art after all...but the great sounding recordings are truly something

I saw Fujii in a trio the other night at Pathhead ( a small village outside Edinburgh. Tom Bancroft (drums ) lead the completely improvised set . It was a stunning concert that really defies description. I felt truly privileged . I ended up buying 4 discs featuring her or her husband ( trumpeter Natsuki Tamura ) I think her Ma- do quartet is possibly her best group. I am promising myself to get this recording. Plus I love the cover.

Great cover -- photo and design. Seconded - awe inspiring cover/photo

Thanks, Jim Recorded on 8/13 & 8/14 in NYC. The band played the previous week @ Birdland. My wife and I were there on Saturday 8/10.

Very grateful to see the three great old living guys with the young pianist last year. Maybe some of it is on the disc if it is from Birdland. I figured this disc was coming out. Nice to see Lake, Workman and Cyrille get a few small headline gigs even if for two of them, it took 30 years to not be looked at as some sort of avant-garde pariahs by many. So progress is that Trio 3 is booked @ Birdland and John Zorn just had a week @ The Vanguard. Pretty soon the Vanguard might wake up and book William Parker and Hamid Drake - maybe with Paul Dunmall on tenor?!?! And bagpipes?!?! Seriously it would be a good idea - too bad it would have been a good idea 15 or 20 years ago.... Fwiw - Zorn's Masada on Saturday night was as hot a ticket as one could imagine. Also would have been a good idea in 1994.

My understanding is that the medical community didn't even recognize hepatitis C until long after Coltrane's death. Until now despite some newer more effective treatments, treatments like interfuron were incredibly difficult and worked less tag half the time - and even when it seemed it worked - after grueling 26 week weekly injections - often the hep C comes back. It looks like the brand new treatments that have become available only over the past 1-2 years are less painful and more effective. So even decades after Coltrane's death - there was no effective way to treat a disease that was only being discovered Fwiw my friend who is suffering also has HIV diagnosed in 1991 which also comes from needles.

The injection of heroin and other drugs through sharing of needles/infections leads to hepatitis C which was not known about at that time. We also know it leads to HIV. Hepatitis C often leads to liver disease and/or liver cancer. I have a good friend who is waiting on a liver transplant who is on the verge of death and he last used drugs in December 1990. It is very clear to me that Coltrane had undiagnosed hepatitis C which turned into liver cancer. Sad to say that I have seen this and am seeing it up close and personal, and like with my dear friend, the sickness often comes to full bloom many years after the drug use/infection.

I would love for a few locals to show up at some of the gigs I attend. Next few are maybe: 10/1 @ The Stone 8:00 & 10:00 sets - Ches Smith's These Arches with Tim Berne, Tony Malaby, Mary Halvorsen & Andrea Parkins 10/4: conflict!!! Either: At the Stone: 8:00 Ches Smith with Matt Nelson ( tenor sax ) and William Parker (bass) 10:00 Ches Smith, Tyshawn Sorey & Randy Peterson ( hard to pass up this unusual yet incredible three drummer line-up ) Or: Capricorn Climber @ Cornelia Street Cafe 9:00 & 10:30 sets Capricorn Climber is Kris Davis on piano, Ingrid Laubrock on tenor sax, Mat Maneri on viola, Trevor Dunn on bass and Tom Rainey on drums Open Loose 10/11 @ Cornelia Street 9:00 & 10:30 Open Loose is Mark Helias on bass, Tony Malaby on tenor saxophone & Tom Rainey on drums I've seen the last two bands many times over the last few years and they are both very exciting and thoroughly unpredictable live

I'm more concerned that most jazz listeners have limited interest in today's music as compared to their interest of past musics whether it be 20's or through the 60's. I'm one of those listeners (I'm not a collector - I say that happily) that has in the past listened to a decent amount of pre 1940 music - but I'm not nearly as interested in that music than what came after that due to my issues with the sound - and today due to my evolving tastes in jazz and other musics. I still listen to some 50's and 60's music but for the most part what excites me today in the music of the present and if the last 20-30 years. Historically I find the decade of the 90's the most vibrant for me and I happen to believe that the musicians I see live today stand strong with any of the musicians who are much more well known historically. I stand by my thoughts that it would be much healthier for some to make more of an effort to support today's musicians than to revisit the same music via new reissues. So I don't know why anyone who loves music or more specifically jazz music should feel badly about having limited interests in certain historical periods or types of jazz. Certainly many completely avoid current musical forms of jazz in droves. I would imagine over half the posters here have little or no interest in anything even close to the avant-garde. If that's OK and it's none of my concern, then why is it important that all of us invest our time and energy in the pre Bird era if we are not as interested in it as we are in other types or eras of jazz? There are many here who don't like hard bop that much or soul jazz. Is that a problem as well?

Well my wife gave me the Tony Malaby fashion critique on the ride home: Same shirt untucked but she was pleased that he was wearing a nice grey sweater. Pants too short with a bad tailoring job with socks not pulled up far enough. Her comments about the band: Better than the last time as the two new Lucien Ban tunes played during the second set were extraordinary -"Rapture" which opened the second set is her favorite jazz composition ever. She said as far as the playing of the tenor saxophone, that Malaby is the greatest. For me I know that if I'm thinking every time I see Mat Maneri he was even better than the last time, then something really special is happening. This band is the most accessible of any band with these two monster improvisors and it is due to Ban and the great Bob Stewart on tuba setting the tempos (as my wife also pointed out to me) Two wonderous 60 minute sets Can't wait to hear the "New Band" ,as Mat called them a couple of times, the next time. In a better world, this music is on the radio.

Very strange eschewing Parker/Graves for the Maneri/Ban Quintet but this is my world of music that I am given such wonderful options...

Maybe I forget Bishop as it's been too long I've seen him live. Very versatile and he has a powerful sound.

Mat Maneri/Lucien Ban Quintet @ Cornelia Street Cafe With Tony Malaby, Bob Stewart and Billy Mintz