Steve Reynolds

Surprising he he didn't record with Dudu Pukwana, Mike Osbourne or Trevor Watts - at least not as far as I know Three pretty significant saxophonists of the 70's and 80's Don Cherry did record with Dudu Pukwana on Johnny Dyani's Song for Biko album. Thanks Me needs to look for that CD. On steeplechase, I think....

Last night gives me renewed faith in the immense power of human artistic potential

Tony Malaby's Taramindo with William Parker & Nasheet Waits

My plans will be for the 10th & 12th and if a third night the 9th.

They were talking about doing 2 sets but I think once they started a few minutes late (~9:20) and the crowd was light, they must have decided to go straight through. Yes - I would think Mat will go forward with the group. The pianist was really sublime and fit right into his music. Fun to hear how Mat instructs and guides the young guys. Before the second to last piece , he told them to take their time getting there. He would signal to McEvoy down for volume(?) or tempo(?), and he will often give instructions who should start (bass), (piano & drums), etc. Then before the last piece, he had his bow less than an inch from the viola for more than a minute before the pianist struck the first soft note. In retrospect, as it is with Joe's music, despite the awesome skronky power of the heavy improvisations, it is the passages at beyond slow and/or below soft that give the music it's heart.

New Mat Maneri tunes called things like "Send", "Kicked ", "Turn" and other one word names for the other four new sketches/compositions. The only tune was an older piece called "Last Step" Leaving I heard a young lady speaking with two make friends and they commended her for staying to the bitter end. HA! One long 90 minute set - new quartet never played together before / none if them ever laid eyes in the music which Mat joked (?) that he wrote at 6:00 this morning. A few rough patches in the beginning with McEvoy in the unenviable position of adapting the double bass to this music. But he got more tuned into the music as the set progressed. He never took oh the his although he once grabbed it and then thought better(?) of it. The pianist was wonderful leaving plenty of space - only playing when it added something to the music. The rapport between Mat and Randy remains telepathic, invigorating and inspirational to this listener. I may be considered some sort of fanatic about these two - and for good reason. Peterson uses no extra toys - the only thing that appears odd is his large cymbal is tilted on a severe angle. His playing is always in some sort of groove that seems to exists on some margin - the tension created by his playing is unmatched for me by any drummer - with the possible exception of Gerry Hemingway - and his dynamic power also can only be approached by Mr. Hemingway. And the bass drum sound that he gets - as someone said, and I reminded him, of the 2002 show at Tonic with the great Joe Maneri quartet (with Barre Phillips) augmented by Craig Taborn and Roy Campbell - or described his sound as atomic bombs or blasts. And when Mat says "me and Randy", my heart skips a beat - as it did last night - as that is when the improvisation detail, precision and intensity went to that otherworldly level To the bitter end indeed - the last half hour was a band finding their way - just warming up - but unheard by most as it is not an easy music to find one's way into. It is between the notes, beyond description, oblique, yet direct, technically challenging, yet heartfelt and almost vocal. Light Trigger, baby

Surprising he he didn't record with Dudu Pukwana, Mike Osbourne or Trevor Watts - at least not as far as I know Three pretty significant saxophonists of the 70's and 80's

Was a great show. Sorey especially really connected to Parker

Fwiw, I have always loved the music of Art Pepper. One of my original favorite alto saxophonists. I also very much look forward to reading the new book. Maybe I will get a better perspective on the title once I read the book. I have a very soft and loving place in my heart for addicts who have suffered and suffer as I was and could again be that person. Peace and Blessings

Getting both of them. The first Decoy with Joe McPhee disc was as good an improv/free jazz recordings as has been released over the past few years.

I read Straight Life many years ago - maybe a bit over 20 years ago - when I had only a little bit of an idea that the next 10 or so years would end up in total degradation, disillusion, poverty and desperation due to my own drug addiction. Since I've been clean, I've seen so many friends and acquaintances who are addicts become lost in the horrors of active drug addiction - so when I read the title, I almost threw up. So I'm gratified that some participants here were also put off my the demeaning title.

Me Likey to hear the GREAT John Edwards and cohort drummer Steve Noble with Herr Brotzmann!!!

With a pianist and bassist I don't know Eliot Cardinaux - piano Will McEvoy - bass With the great Randy Peterson on drums I be first in line Get Ready to Receive Yourself

I guess I see you all on June 15th AND June 12th @ Roulette in Brooklyn

Looks like Evan is playing at the North Sea Jazz Festival with John Escreet's trio which us the quartet I saw last September, I would think. John Hebert and Tyshawn Sorey wre on bass and drums. Word was that they recorded a day or two after the show. Maybe the recording is coming out - good that they are playing together again if it is, in fact, the same quartet. Reading a few new and old threads focusing on tenor players, for me although I enjoy many past and present, nobody does it for me like Evan Parker on tenor. Listened to the 17:35 minute duo with Paul Lyttin this AM from the Mad Dogs box and it probably isn't out of the ordinary for Parker on tenor, what stands out in his improvising in this sort of context(duo with drums) are a few things - one is that it is duo the whole way through - and that for 17 minutes he is never lacking for ideas or inspiration. And this isn't necessarily a standout performance - look to disc 4 with Agusti Fernandez joining the famous trio. Listen to the whole first piece - it's a bit over 24 minutes, I think - but what happens in the last 5 to 6 minutes is beyond extraordinary. A tenorman over 65 isn't supposed to be able to play like he did 15 to 20 years ago - but he does. And last fall he played as good or better than he did in 2009 or 1999. Casual brilliance? Maybe for some but I don't take it likely.

Yeah!!!!

The American Quartet recording "Johnny's Corner Song" is also very good. With Eskelin, Eubanks and Dresser Saw that band in 1999 or so and Toombow to end the set was one of the great performances I've ever witnessed live.

You have all the Hemingway Hat Arts yet? My favorites are The Marmalade King, Demon Chaser and maybe Special Detail

Joe Maneri, Mat Maneri and Barre Phillips Two great ones: Tales of Rohnlief and Angles of Repose (Mat's personal favorite recording of him and his Dad)

Glad another great tenor player besides Tony Malaby knows current fashion trends!!!

Kurzmann is one of most interesting of all the electronics based improvisors that I have come across. His work with Burkhardt Stangl on a few recordings is wonderous. Look for the "old school" eai recording "Schnee" from 1999 or so for the evidence.

Who is the drummer?

Same person, same real name like you use. Just back then I was a bit too green and more than just snarky......these days I hope to be a bit more grown up and a bit less unstable.

Not true and this is your problem. Paradigms are indeed tough to break out of if you can't ignore the remaster folks and take care of yourself and folks enjoying the same (even if they like remasters). Get rid of the chip and find some friends. I got some friends but I'll always be the guy from the other board and that's OK with me. I always looked at things a bit different probably because I came to this music after 30 and within a few years was just as interested in Paul Lovens as Tony Williams which is not the norm. And within a few years much more interested to see or hear Paul Dunmall than even the late great masters. So my viewpoint is different from the norm here or anywhere. You are correct that I should let it all be but sometimes I revert towards the guy I used to be who had no tact which isn't the guy I am today. Peace and blessings

Point is many are more interested in listening to another version/remaster of the same recording. We all know revisiting and relistening is invigorating and enlightening. I was trying not to offend those who have been focusing on the same music here for over 20 years but I guess alternate viewpoints may not be encouraged here. I've been called worse than snarky, Chuck Not often called ignorant though. Paradigms are tough to break out of.