Steve Reynolds

He even thinks he knows something about Peter Brotzmann "screechy" Ok, whatever

"Jikes" How soon does that happen after one first got in touch with the music? I'm not much into labeling myself, so I do not mind her singing country or jazz or both. I like country myself and sometimes I sing and play some on my guitar. According to what she did in the past I really liked her cooperation with the Charlie Hunter Quartet and covered their "Day is done" (orginally a Nick Drake song) with my band. I do not really look at her as a jazz singer but when do you verify exactly as one? And who, besides yourself, gets to decide which influence you want to bring into your music? For some bizarre reason I missed the HP quote you posted here. I don't see older audiences for those genres as anything alarming. I think getting into those genres IS a matter of age. What I mean is that when were younger we tend to lean towards music that is easier to digest on the fly, or in the background because we haven't settled down at that point in our lives. But as we mature we take the time to "stop and smell the roses". Most people when they're younger aren't looking to invest the time and focus needed to appreciate these art forms. And it IS an investment of time and focus. Just my two cents. It's mostly older folks who listen to Mozart, but it's not like they were around when he was composing. However, when I went to see Albert Collins, Luther Allison, Son Seals, Albert King, John Lee Hooker, etc. in the late 1980s and early 1990s, at the Grand Emporium in Kansas City, the audience looked like it was in its 30s and 40s. Now the audience for the same kind of music is mostly white haired. Maybe it is the exact same audience members, 25 years later. Also, when I went to jazz concerts, from McCoy Tyner, to Count Basie, to Sun Ra, to Ella Fitzgerald, to John McLaughlin, you name it, in the late 1970s and early 1980s, there were many college age people in the audience. That is not the case any longer. What shows are you going to? Not my experience at all.

Agreed. Plus I fervently agree with him on this issue.

Not sure who the fifty or sixty musicians are but I think some of the independent labels give a recorded voice to some musicians that would otherwise not be heard on record. Some labels introduce newer names of more geographically faraway (from me) names. I think clean feed and Not Two records do a good job as here are a few of the names that I've come across over the past few years that were new to me: Rodrigo Amado Lisa Mezzacappa Francois Carrier Michael Lambert And quite a few others

If it is personal and not musical, then it is simply pathetic. I have plenty of issues with some of the more obtuse and ethereal elements of some if the music being made and played that roughly falls under the descriptor of the downtown scene but Mary Halvorsen, whenever I've seen her play, cuts through the stilted aspects of what I consider sometimes overly composed/academic music that tends to exist within the scene more so than the more energetic and knotty/gritty music I prefer. She personifies that sound/approach, i.e. I hear fresh invigorating playing and writing that can only be a positive. She is the one guitarist who I would deem to be a jazz guitarist that I would want to hear live more so than any other playing today. In fact, I really don't know anyone who wouldn't or hasn't been impressed with her music or at least her improvising. One would have to be thoroughly close minded to anything out of the mainstream or on the other hand, be one of the anti-jazz sort - a few of which happen to be friends of mine. So a real poor target, IMO So shots at her if personal should be made to be personal and not hidden under a musical and/or appearance based comment.

The saddest part is whoever that dolt is that wrote it believes it. Written under the guise of "humor" what stands out is the belief that jazz is stupid, silly and a waste of time. And that he is an employed or paid writer by some other moronic ignorant dolt(s).

First track from the AALY disc - about 3 minutes in, listen for the screaming from the audience when they kick in real strong from a sax duo break. Fwiw I scream with them. I'm digging it out this weekend. Did you notice they cover Ayler's Ghosts?? It's pretty damn dark and almost gruesome. Very very intense and exciting. How much you pay? $20? It's worth double that Love that you sprung for Skies of Europe. The first of the two tracks is a classic performance with an incredible theme. The grand orchestra at their most Italian and with a groove here and there to boot. Hope u enjoy

I guess I probably wouldn't be interested in Burning Ambulance Not that much of a veil in that absurd shot at Ms. Halvorsen Music that tumbles over its own feet??? Clogged ears but that is nothing new

Highlight of the disc is a rare cover of "Functional" RIP

I have never downloaded any music It's just not for me I love my CDs

I got some GREAT pictures of current day JAZZ musicians ON STAGE from the last couple of years. I was going to share one of Edward "Kidd" Jordan with Dave Burrell, William Parker and Hamid Drake. June 15th last month in Brooklyn. Stunning sounds and as always, stunning to see these brilliant musicians up close and personal. The coolest dudes in the room. Imagine those guys wearing suits? Maybe some of you all need to get out more often GIANTS walk the earth TODAY

Skies of Europe forever He joins the great alto saxophonist of the orchestra Mario Schiano as late members of what I consider, at their zenith, one of 2 or 3 greatest large ensembles of the past 40 years. RIP Mr. Gaslini

Seemingly makes zero sense and I was going there again in my head until it all worked. Fwiw much different than Paloma Recio which also has Monder as that is based on composition and has a southwest flavor. The dual improvisations of the saxophone and guitar have some similarity but I never heard that band "rock" out like the quartet did at times last night. Almost contradictory than Monder has that kind of sound and yet the band rocked out. The drummer's approach had something to do with it and I wonder if the smart decision to take the brushes out of the equation for the second set was a concious or unconsciouse decision.

Odd aspect is that if the quartet played again and if they "tried" to go where they went last night, it inevitably would fail, I think. I don't even really think they even knew how the magic happened. But maybe there is some hidden formula or track to get there, but I doubt it as why does it take time and sometimes never happen at all. Plus it is almost as if Malaby eschewed more standard playing to get the music to some different place. I guess in his mind maybe if nothing attempted, what's the point? I agree although sometimes I yearn for a good old elbows cranking Malaby tenor solo - until I hear the magic happen!! Fwiw most of the small crew of regulars went to the Jazz Gallery for Ingrid with Berne, Gerstein, Peck and Rainey. A few of them are not fans of Monder as his playing is really almost the polar opposite of their favorite current guitarist, Mary Halvorsen who I am also a big fan of. Monder takes the music to a drone place that is close to rock - more so than Mary who despite those crunchy rock like chords - does not take the overall music of a trio like the one I saw last week anywhere near the places the quartet reached. Not a value judgement, just a reality. And Monder is a guy with a much more straight reputation, and his actual sound isn't gritty or rough at all, it is ethereal and often sensuous and laden with unknown effects that I'm sure off putting to many. For sure, a very outside the box guitarist.

So I figured that I was tired, my wife somehow liked the first set more than me, I think. So maybe I violate my rule which is to never miss the second set, especially when it is free improvisation, and most especially when it seems that everything hasn't quite gelled. I ingot my brain and I follow my mantra. We stay for the second set. Thank Jah as an old friend used to say - I'm thinking of you, Sisco - I always do when I'm @ live music. The guy's wife next to us seemed to have disappeared for a bit during the first set and she couldn't wait to pay the bill. He was glad they came but she is no free improv fan and this was not music to make any converts from straight ahead jazz. So I go outside to get some air and I notice lots of young guys were there for the show and they seemed to like it, I think - and a few of them might have hung around for a second set that would start at about 10:50. Second set happily it seems the drummer has given up on the mostly unsuccessful brushes and mallet for sticks at least at the beginning. He ended up mostly sticking with sticks and it was a smart decision. Tony again starts on the straight horn and the music is more energetic, focused and crisp right from the start. He switches to tenor quicker, maybe under 10 minutes in and within about 5 minutes they are into something seemingly out of nowhere that is this doom metal drone with this guy Jeff Williams playing what I could only describe as an amped up Sunny Murray style free jazz crossed with something rock orientated but safe to say, I never heard anything like it from a drummer - and the next 15 minutes or so exploded into music that has no label, no definition and no peer. Beyond possible. Best piece of improvisation I've heard in over a year. Last 2 pieces superb ending with more traditional free energetic drumming with the Malaby/Monder dual improvisational machine in high gear. Still no post bop/free bop Tony - nothing to put himself in the forefront - no see me, hear me solos from anyone, just what I now realize is another aspect of his diverse musical vision. Fwiw, Hebert was superb throughout and by the second set, he was the glue that held it all together as despite playing very free and switching often between the bow and not, played the role of not allowing the whole to self destruct. And maybe it almost did implode during the mid portion of the first set, but it sure didn't in the second set. After that first piece, they were laughing and smiling as they knew they went somewhere that wasn't thought possible. True music with no fall back point, as it would be easy to just get in a groove and wail as they all could do, everyone would cheer after the solos, and one would be happy to again. This sort of improvisation is of a different sort. Cliches dropped, something else happened, doom metal free improv??? I dunno, just another version of the true vital sound of surprise. blood and guts, baby

With Ben Monder on guitar, John Hebert on bass and Jeff Williams on drums No sheet music, first set starts off rocky as they try to find their way into something with this listener having no idea what the hell they might be looking for. Tony's soprano is somewhat melodic but who knows. The drummer seems tentative and Monder can be very difficult to locate despite intermittent volume increases. About 25 minutes in they hit an odd anti-groove and it works for a bit. Second piece starts after first 35 minute piece and really the music starting happening once the band came down to Hebert playing a few very very soft notes on the bass gathering the audience's attention. A mode of this band seems to be both Monder and Malaby playing loud often at the same time and it only works some if the time. It worked the last ten to fifteen minutes of the first set and it ends to a nice applause but I'm still confused. No typical technically awesome Malaby tenor, his playing seems a cross between Coleman Hawkins and Albert Ayler with his almost obscene overtones and squeals seemingly thrown in.as is his wont the last thing he is up there is to impress anyone and it can be damn exasperating as if I know what he knows and as if I know what he and the band is capable of. So often lately his music can be confusing as it is all about the interplay, space, noise and feel. Very little is about soloing over any groove or playing the freebop tenor that he is untouchable at playing. So nothing here to connect deeply to or concert any non Malaby fan but I always stay for the second set. I'll continue later

The 25 minute first piece from the second set last night @ Cornelia Street Cafe Again, if one is really into the outskirts of avant-garde combinations, NEVER leave before the second set. Decent first set, THEN: Doom metal free jazzish improvisational skronk care of Malaby, Monder, Hebert & Williams In a sane world it is a side long track on an upcoming underground LP that gets played on a radio station as it's awe inspiring power transcends the fact it is wholly improvised and this world will never ever hear anything like it, before, since or ever after. Easily the best "track" I heard all week

I havn't warmed up to Farmers by Nature and I didn't like them live despite liking or at times even loving all three of the musicians. I havn't returned to the one CD I have of the two they released in a couple of years.

Nice review, Leeway Fwiw, Lescalleet was extremely loud when I saw him solo @ The Stone a couple of years back - but I thought it was mind bendingly awesome. Tonight: Tony Malaby Quartet with Ben Monder, John Hebert and Jeff Williams. @ Cornelia Street Cafe. We got a great parking spot. My wife is shopping on Bleeker Street. Weather is perfect. I am thinking Tony will be on fire! Btw - Jeff Williams is new for me. Malaby picks great drummers so let's hope he fits the bill.

Saw Full Blast front row a few years ago. Only thing comparable volume wise was Jason Lescalleet @ The Stone

Thanks, Clifford I only picked up a few individual CDs from that box - I think a Globe Unity and the Schlippenbach Live @ Quartier Latin with Kowald, Parker & Lovens. I missed the DLAD CD. I wonder if it compares favorably with the great Little Birds Have Fast Hearts 2 volumes.... Don;t forget the DLAD with Roy Campbell on Eremite. Nice one - the 10 minute encore section is stunning but the main portion of the recording doesn't touch the band with Kondo. Campbell is/was a fine energetic trumpeter but Toshinoro Kondo on those 2 discs is a genius level improvisor. Yup, have you checked him out with the "Hairy Bones" project? I think that is the band with PNL, isn't it? No I havn't heard them. I am still working my way through coming to grips with the Long Story Short box. The large band without the charts is still a challenge for this listener and I miss Drake in the chair next to Michael Zerang. Fwiw, I love the long side with Laswell, Ghania (sp?) and Drake. Almost worth the $75 I paid for the box set.

I want that box. I see it for the above 185 euros. Not happening as my next major purchase since my 2007 Hyndai Sonata will be the new 2015 Ford Mustang hopefully in October if it goes on sale in September as announced. The CD purchases will have to wait. I am going for the best stereo they offer rather than the 5.0 Liter GT with 425 HP!!!

Thanks, Clifford I only picked up a few individual CDs from that box - I think a Globe Unity and the Schlippenbach Live @ Quartier Latin with Kowald, Parker & Lovens. I missed the DLAD CD. I wonder if it compares favorably with the great Little Birds Have Fast Hearts 2 volumes.... Don;t forget the DLAD with Roy Campbell on Eremite. Nice one - the 10 minute encore section is stunning but the main portion of the recording doesn't touch the band with Kondo. Campbell is/was a fine energetic trumpeter but Toshinoro Kondo on those 2 discs is a genius level improvisor.

Baraka was never limited edition as far as I understood. The limited edition DKV disc was the live one from the same time frame - a disc I recently bought used for $20. I like it more than Baraka. Rougher than Baraka and it sure takes a while to get going but well worth hearing and owning from my perspective.

The last couple of times on the Artist forum - Tim Berne thread