Steve Reynolds

Ugh RIP to one of the grand masters. Last of the classic Ornette Quartet besides the leader.

Excellent analysis, Clifford I read a while back (I think about when Jubilee Varia was released (on hatology))that Misha was the one selecting the tracks/etc. from multiple concert recordings. My experience with the shows I've seen - not that many, I think 4 concerts over the years - that a complete concert would be perfect for the full ICP. Thankfully if one searches enough there are recordings of many of the ICP musicians on other labels to hear them to strong effect.

The individual ICP CD's I've heard and own (~5 or 6) are nortoriously inconsistent. Most or even all that I have are live and they don't include the older ones that I've long been interested in hearing (especially the Nichols and Monk recordings) That being said on every CD there are 2 or 3 or even 4 tracks/tunes/improvisations that come very close to capturing the live in person/sound/feel of this incredible band. I also did not buy the box since I heard many of the earlier recordings that I would love to own were needle drops and/or lacked the kind of sound/production values that I personally find very important for this sort of music. I love to hear these musicians close to the way they sound from 10, 15 or even 30 feet away. Waiting on the next US/NYC appearance as even without the great Misha, last time they still were as exciting and propulsive large ensemble as exists in this world.

In retrospect, my favorite Pink Floyd music is the pre-Dark Side of the Moon material. Of the later records, Animals is my favorite. My favorites: Obscured by Clouds Meddle More Ummagumma - some weaker tracks but the peaks - Grantchester Meadows and some of the live stuff - make it a very worthwhile recording - plus it was my first Pink Floyd LP (double LP) and I had the 8 Track!! Also - Selections from Piper at the Gates of Dawn if it includes See Emily Play which is my favorite Floyd tune ever.

In the days of LPs I liked The Final Cut I've never listened to a minute of post Roger Waters Pink Floyd (sic)

If King Crimson was touring without Robert Fripp, would it still be King Crimson?

Show changed. Malaby has a quartet on 7/25 and nothing public scheduled on 7/26. @ Cornelia Street.

"Outer Space" from Roscoe Mitchell Quartet - Before there was Sound Alvin Fielder roars, Favors with bow is pristine, Fred Berry more modern than 1965 and the leader is wonderful and searching on alto saxophone

Read the penguin guides

I've never had any issues with skipping or clicking with any CDs - and my somewhat limited experience with Not Two is that the recording quality is as good or better on whole than any other current label including eremite, AUM and even hatology.

Don't spoil the futball results - I have it on tape for later.... I any event I can't wait to see Evan Parker play the saxophone in September

Parts of me thinks the same, parts of me thinks different. You are taking the Derek Bailey tact, I think - new combinations with new possibilities. Maybe Parker wants to play again with some of the same musicians to delve further into what they played together before. I sure got the impression he loved the trio he played with last year that is repeating this year - Escreet, Hebert and Sorey. I, for one person, am thrilled to be able to hear the "encore"! Of the musicians you mention, I think Halvorsen might be an interesting partner as would Max Johnson. For me I like mostly to hear Evan Parker with drummers - and Sorey and Corsano are great choices for my ears. The one local drummer I would love to hear him with is Randy Peterson. Steve, I get that, and it's fine with one or two groups, but when the entire schedule with just a couple of exceptions, are "reruns" I get a bit miffed. I don't come to this music because it's comfortable, I come because it's challenging. I don't like partners chosen on a comfort level, like some old lounge act. The best people in the field have an obligation to move the ball forward. A lot of people on the scene in NYC feel this way, that the schedule is a disappointment, but nobody wants to say anything. It pains me to say it too, since I like Evan, and have been to not only the residencies but other concerts in the NE, but I'm baffled by this residency. For the first time, I'm considering not going, something I would not even have thought possible before. Points well taken. He may feel like it is a challenge to dig deeper with the same or similar ensembles. As far as comfort, I do believe it might be more comfortable for him but maybe he believes the music will be stronger the second or third time rather than the first time with new musical cohorts. I think I'm somewhere in the middle as I am one who thinks that Parker-Guy-Lytton and Schlippenbach Trio continue to be his strongest vehicle for his playing to this day with odd exceptions such as the trio with Edwards and Sanders or the Foxes Fox quartet. Now that is what I really want - those guys WITH him in NYC

Kind of an interesting irony in that. I read an interview (Cadence, Sept. 1999) with Dave Liebman, where he says this about Evan Parker: "He's an interesting player, he's a one-dimensional player. And because of that one-dimension, he's very deep into it. He does one thing, and he does it tune after tune. There are musicians like that, who hear one way. They have a kind of uni-direction that is remarkable, and I have to have a lot of respect for them, for having shut out everything else...A guy like Evan has been playing this way since the '60s, and he's the master of it....I like something a little bit wider, that includes more moods, more color." I agree with this to a great extent and probably why I listen to more Evan Parker than any other saxophonist . What I don't agree with is that he had not been playing this way since the 60's. His playing took a huge step forward from the 70's through the early 90's. Same approach and focus, for sure but by the 1991 set "The Ayes Have It" Parker is playing with a facility on the tenor that is of a different level exponentially from his rough, gritty playing of the days of Pakistani Pomade or Hunting the Snake. Now some much prefer the earlier playing (and sometimes I can be in that camp depending on my mood) but the later playing is of a brilliance that some refer to casual it is so assured and accomplished. I believe his playing is do great due to the single minded focus of his playing

Parts of me thinks the same, parts of me thinks different. You are taking the Derek Bailey tact, I think - new combinations with new possibilities. Maybe Parker wants to play again with some of the same musicians to delve further into what they played together before. I sure got the impression he loved the trio he played with last year that is repeating this year - Escreet, Hebert and Sorey. I, for one person, am thrilled to be able to hear the "encore"! Of the musicians you mention, I think Halvorsen might be an interesting partner as would Max Johnson. For me I like mostly to hear Evan Parker with drummers - and Sorey and Corsano are great choices for my ears. The one local drummer I would love to hear him with is Randy Peterson.

September 9th through 14th Lots of good stuff but I'm posting as the schedule was updated with some changes. Tuesday is now the quartet that played last year - John Escreet, John Hebert and the great Tyshawn Sorey and now the second set is: Evan with Joe McPhee on trumpet with Chris Corsano Yummy Wednesday is now Parker with Peter Evans and a saxophonist named Charles Evans and then: Parker with Peter Evans, Hebert and Sorey. I would love to go on Friday night for the quartet called Rocket Science or for the duets with Milford Graves on Saturday night but for me, these are the nights for me - especially knowing his great Sorey was with him last year - and I've been waiting to hear Corsano with Parker for a few years now - and adding the great Joe McPhee to make it a trio is very exciting indeed.

With Mary Halvorson & Ingrid Laubrock @ Cornelia Street Cafe - 2 sets Very freewheeling open ended trio. Should feature Rainey's most exciting and powerful drumming.

July 25th & 26th again @ Cornelia Street Cafe (Friday and Saturday nights - 2 sets each night) Tony Malaby - tenor and soprano saxophones William Parker - bass Nasheet Waits - drums Naysayers and doubters welcome. I don't buy drinks but If you are one of those who talk big about what this saxophonist does or doesn't do or how he dresses and all that (see untucked shirt on cover if new CD) I would like you to sit right by me on Saturday night as close to the bell of the tenor as is safe. Very little touches what it is like to hear this saxophonist and this powerhouse trio in that nice long thin little room. Peace and Blessings

Picture didn't show here either. I am so glad you will be able to experience one of the very special free improvisation recordings of the 1990's.

Add William Parker, Dave Burrell, Hamid Drake and Kidd Jordan to that list. Fun to do that as the quartet played on the 15th. A strong case can be made for all as well as the above, IMO. Also add Ray Anderson, Mark Dresser and Gerry Hemingway to the above lists. All extremely worthy of the award. Fwiw although I am not as large an aficionado of Mitchell and Threadgill as many others are - the reality that those two musicians have NOT been honored is beyond absurd.

That above post has me wanting to see the band live

Think about Miles electric stuff and listen to the brilliant opener "Pinch" Can was way ahead of it's time. I'm not sure I would have "got" it any earlier than when I first heard Can in around 1990 or so when I stumbled upon Cannabilism. I got sucked in by hearing Mushroom, Mother Sky and Yoo Doo Right. Then I bought Tago Mago and it was all over. The opening orginal first LP which are the first 3 tracks including Mushroom then the amazing side long Hallelewuh. That 18 minute track is pure genius with the ultimate Can groove. Unstoppable

Funny thing is the last few years I love listening to Keith Moon from the late 60's

All good points above Now we gotta get some people here listening to Jaki Leibezeit on drums and Holger Czukay on bass with Can from 68-72. Doesn't swing but no one EVER rocked a groove like Can. Add in Irwin Schmidt's magical sounds on analogue electric whatever keyboards and Michael Karoli's guitar - and even without Malcolm or Damo... And this band's magic is on the studio records - Monster Movie, Ege Bamyasi, Future Days, Soundtracks and of course the greatest of them all, the epic recording Tago Mago. Not clunky or cloddy there, Jim!! Mother Sky, baby

Part of it is when I heard it. I heard Cream in 1977 as a 17 year old. The strong live tracks which for me are Crossroads, Spoonful, NSU, I'm So Glad, Deserted Cities of the Heart and maybe a couple of others, rock and groove in their way due to Baker and Bruce. Then again this was a 17 year old listening to what I thought was great rock music by musicians I had just discovered and realized that were looked at as rock gods. I was also listening to Hendrix, Traffic, Yes, Floyd - and then within a year the big one for me - King Crimson - so I was listening to the guys who I thought could play. And I thought that as far as rock drummers, it was a short list for me then and maybe even today - Ginger Baker, Bill Bruford, John Bonham and later Stewart Copeland. I liked Mitchell and Moon - but they were too messy and they didn't have that crackle that my favorite guys above had. So did Cream groove like Blakey et al on Free for All? Hell no but they rocked out and the best jams like the long ones on Spoonful and NSU were then and are now (in retrospect) powerful musical statements by three twentsomethings bringing it in way that had never been done before - and honesty - never since.

For me The Ocean live on How the West was Won is very hot. As are the versions of Commication Breakdown going into an outrageous Heartbreaker. Then the version of Black Dog is as tight as the band ever got.