Steve Reynolds

Agree about Inscape/Tableaux. As far as Barry Guy in general, I've only seen him once back in the day with Crispell and Hemingway and is imprinted in my brain how great the guy was live. I've listened to his improvisations and compositions through his large ensembles for many years and he is one if the truly great bassists/composers/organizers that I know of. As far as my comments on the above show methinks parts of it is the listener - in this case - ME! For the musicians I really appreciate (and Malaby is near the top of that list), I do expect something beyond the ordinary and since I've been seeing/hearing him play live as much or more than any other musician over the past number of years, I sometimes set my expectations too high as I do realize what he is capable of. I also realize that a substandard or set or night filled with longuers is sometimes my perception as some listeners - like my wife this past Saturday night - was very happy with the first set of music. What I do also realize is that I am not as interested as some in the softer balladic interludes that to my ears is overdone time and effort wise these days in this sort of music. I also understand that sometimes those quieter or introspective passages are building blocks to what comes later. Or that could be an excuse. Or as I said, it could be an issue with this listener.

First time seeing the original trio with William Parker and Nasheet Waits First set started late and slowly with Waits on brushes and eventually creating an attractive bass drum groove of some sort. Most of the set meandered with some intricate improvising and a few nice passages. As usual the band played straight through utilizing Malaby's written material as a base for the collective improvisations but surprisingly and dissapointingly most of the ideas fell short of my very high expectations for these master musicians. My wife liked the first set more than I did as she thought the drummer was incredible - but I've heard all of them more inspired. This is a difficult music for the best improvisors to take to a truly inspiring level as they do not rely on stock riffs of patterns or audience exciting grooves. First 15 minutes of the second set changed everything as Malaby played an extended improvisation on tenor over menacing and driven bass/drums that was all over the horn with some altissimo lines that came from a different universe. Middle of the set was a bit up and down and then towards the end of the night, I had my faith renewed in humanity as I mentioned elsewhere where it all came together and I was reminded that giants walk this earth. A few people besides me were screamin' a bit and I heard Nasheet Waits as I never heard him before - bombs and intensity beyond and Parker was magical with the bow and fingers and Tony was possessed on the tenor saxophone. Fucking possessed and playing like a mad scientist. Maybe the greatest performance I've ever heard from him. Stunning Love always Standing on a Whale Fishing for Minnows

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.