Steve Reynolds

More later but alls I can say right now is: The Great Ray Anderson astounded me with what he played tonight, especially during the second set and the unaccompanied solo he took during the second half of Ehrlich's "Stride" was jaw droppingly fucking genius level brilliance. Second tune of the second set was "Sugar Water" from one of the earlier wonderful Ehrlich recordings on Enja - Side by Side and as I haven't heard any of those recordings for a while and I forgot how brilliant much of that music is, I welled up a bit when he chose to play my all-time favorite composition of his. But I forgot how truly gorgeous the melody is and overall what a great composer he is. Both Brad Jones and Matt Wilson were better than I've ever heard either of them and the high points of the two sets were very high indeed. Ehrlich really got the alto blazing during the second set. I also forgot how virtuosic he is on his main horn. First set ended with a klezmer inspired theme into some high energy improv with Wilson playing all kinds of cymbals and the second set ended with Ray's "Alligatory Rhumba" which ended the night groovin like a mother with The great trombonist playing like he wanted to play all night despite the tiny crowd that stayed or came for the second set. Those who didn't go if didn't stay missed an amazing hour of music. I sometimes forget how great these guys are as well. I almost didn't go and I'm sure thrilled that I did

Last tune Tiger Dance

Like I Said. Portrait of Leroy Jenkins. Hot Crab Cup. My Wish. Erica. nd then the last piece which was spectacular which of course I now have forgotten the name of

No bass clarinet which is expected as he doesn't often play it Ehrlich has his alto, soprano and what must be a b-flat clarinet Front row right in front of the two great horn dudes Later I'll move my comments to the live reviews if I'm inspired Name if you want to oblige?

And now about 30 minutes from Marty Ehrlich's band. Can hear them warming up from East 2nd st and Avenue C Getting a bit excited to hear the band

His playing on all his horns (clarinets and alto sax) is even better than very good in my listening experience. At his best as he is on Hemingway's The Marmalade King he transcends what those instruments seemingly are capable of. When I've seen him live he sometimes blends into the music and sometimes he astounds as he did the last time with ICP and with his Americanized Available Jelly band.

of course "Post-Coltrane" jazz includes the whole gamut. Would have loved to know how Coltrane dealt with musicians like Red Garland who couldn't or didn't or wouldn't hear what he was laying. And this is not a volue judgement on musicians who gre up with music in the 40's through the early 60's and then there was what happened and the bifurcation of jazz - how can we say what the music being made by the insurgents sounded like to ears trained to hear music and play music within certain confines? fascinating that Coltrane was the one guys from the pack of reknowned musicians who pushed as hard and as far as he did against the status quo

then those who really don't like the changes and advances (yes - advances) in jazz that were in some part due to Coltrane pushing the limits - no doubt in some cases to an extreme point - especially in relation to length, then they can say that *even* Coltrane didn't believe in free jazz. even the grand master who was respected by all didn't really like free jazz. so the only ones who pushed forward and beyond were mostly those un-moored from the *tradition* a faccy, of course, but it makes the staunch conservatives feel better continuing to ignore 40 years of quote, un-quote "Post-Coltrane" jazz.

Saturday night @ The Stone, NYC 11/16 Saturday 8 and 10 pm The Ray Anderson/Marty Ehrlich Quartet: “Let Me Hear You Say” Ray Anderson (trombone) Marty Ehrlich (reeds) Brad Jones (bass) Matt Wilson (drums)

oh how some just wish that Coltrane himself thought his later playing was just jiving

I might take back my Mad Dogs recommendation unless one has an open mind. Maybe start with Parker-Guy-Lytton's At The Vortex Listen to it loud 3 times and if one doesn't like that, then stick with traditional free jazz

Very sad indeed Kalaparusha at the edge of the horizon, indeed Here it as it was performed in dedication to the great saxophonist by William Parker's In Order to Survive in June 2012 on the recent box set. An amazing experience to see the suite from the first row. Big props for William's support for Kalaparusha during his final difficult time on this earth. Peace and Blessings

This is getting absurd. He thinks those he listed are basically free improv and you're recommending Mad Dogs, which costs how much again? He made it clear there was a budget issue. Others recommending Brotzmann and the rest. Is there really a reading for comprehension issue for that many of you? He wants "unstructured" so I figured the best of the best free improvisors in the area of energetic improvising would be the best place to go.

Mad Dogs box set Free improvisation from some of today's greatest improvisers including Parker, Guy, Lytton

Happy I am seeing Marty Ehrlich next Saturday and here's hoping he brings his bass clarinet with him

The 3Dom Factor on Tum is darn good. I believe you should give MOPDTK a try. But - then I may be the only one. 3Dom Factor is a very fine recording - pretty similar in vibe to the trio I saw live except the night I saw them it was Irabagon's music and Mark Helias is always incredible live.

I havn't listened to or gone to see MOPDTK and you guys are doing nothing to encourage me. OTOH, I really like Irabagon and the last time I saw him (stikcing to tenor) with Helias and Altschul he was pretty damn great when he hit his groove

at least one of the best jazz clubs is two blocks away looking forward to NOV 9th: Tony Malaby with Ben Monder et al - and two drummers - Dan Weiss and Billy Mintz will be scorching

Tarfala: Gustafsson, Guy and Strid Opening 19 minute piece from Mad Dogs disc 4

Me wants to see that quartet - I have never seen the legendary drummer or the great bassist

Black was actually a day of the shwo replacement for Nasheet Waits pure improvisation for 2 sets which were blocky, detailed and much as she describes in her conversation with Mark. Very intense and tension filled especially during the quieter or microscopic passages. and never did Black even break into one of the massive grooves that he is well known for - it simply would not have worked with those musicians - especially with Mat and Kris who are a great combination. Kris has always been best as an improvisor to these ears when she plays with Mat Maneri. the quiet and intense duet passages between the two of them stun these ears. Yes - very much look forward to hearing the quartet with Newsome, WP and Ches Smith.

thanks, Mark I've seen Kris fairly often over the past few years in a number of different ensembles and I continue to be intrigued. The most powerful aspect of her playing/composing and bandleading (whether it be pure improvisation like a quartet I saw her with Mat Maneri, Drew Gress and Jim Black) is the silences/spaces and the tensions that are created by the spaces that she and her bandmates. Her playing and arrangements for Tony Malaby's Novela is and are tremendously original and her Capricorn Climber band live this past Spring/Summer took huge steps forward from a couple of years ago and is way beyond what they recorded for the CD on clean feed. I will miss LARK (Laubrock, Alessi, Rainey and Kris) who is playing the end of this month - I think this Saturday but I will NOT miss the following ensemble which I am pretty sure will be freely improvising: Saturday, Nov 30 - 9:00PM & 10:30PM Cornelia Street KRIS DAVIS EXPERIMENTAL QUARTET Kris Davis, piano; Sam Newsome, saxophone; William Parker, bass; Ches Smith, drums

one day great picture especially capturing the intensity of the great ol' saxophonist, Trevor Watts plus odd to see his alto just lying on the stage......

I'm buying it and we will see if I can hear the *great* Ches Smith didn't hear him on the first CD

One Too Many Salty Swift and Not Goodbye RSD at his finest Last Exit, indeed RIP, sir!!