Steve Reynolds

Paging Xybert!!!!!!

I be there @ Vision Fest

One more thing See Novela live if at all posible

Well said Heart and soul with technique to spare and endlessly frustrating at times as there have been quite a few nights that the elbows never flap. Because the goal or the target is unknown sometimes it doesn't happen. But especially within 2 sets from a band like Open Loose the listener will be surprised and for me always wanting to hear more.

Saw Hill's sextet around 1998 with Ehrlich, Horton, Colley and Drummond I forget the tenor player Band was awesome due in large part to Marty Ehrlich and Billy Drummond

Once live is way not enough to know anything about the calibre of Tony Malaby's abilities. He is poorly served on his own recordings and he is wildly unpredictable live but when on, for me he is the most bracing, original and exciting tenor saxophonist on the planet. Come see in NYC 3/29 at Cornelia Street

Love this album, a real gem, a wonderful group. I'm starving for a new Moran leader date. This album made me want to check out some more Oliver Lake... hasn't happened yet, but the seed has been planted. Trio 3: Live in Willisau The one to search out among all others. 1992 concert of the great trio from when the band commenced

My favorite Intakt recordings are probably the Barry Guy LJCO and New Orchestra recordings

I ordered the Roebke. I'm getting the sax trio session with the great long time bass/drum tandem of Dresser/Hemingway

This is a great one

Is Mobley's Peckin' Time well regarded? To my ears, a very humdrum rote session with a substandard Charli Persip on drums And I've become a big admirer of Mobley - especially the classic dates like Workout, Roll Call and Soul Station I find his phrasing, tone and melodic sense more engaging than Coltrane's late 50's playing and even prefer him lately over Rollins of that era or Dexter. I really need to re-aquire the Blackhawk sessions with Miles Back to the blue notes, back in the day, I really ha a hard time with the later Lee Morgan blue notes. I found them formulaic and uninspiring.

Dragonfly Breath is one of favorite recent releases Plus one can the great Not Two sound quality at its finest

I actually don't think the problem is an underrating of BNs (and more straight-ahead stuff), but an overrating of avant-garde jazz and non-jazz improvisational music (on average). They are much, much more generous with ****s with the latter than with the former. Guy That may be. Do you have any good examples of that? IIRC, in the case of many BNs, they tended to review the results as formulaic or pedestrian, so maybe did value the avant stuff higher just for being different. I know I have my own bias in that direction. But I would be interested in egregious examples of overrating the avant-garde stuff too highly. Derek Bailey and Evan Parker are the first two examples that come to mind. Funny that I am not much of a listener to Bailey but my opinion of the Parker discs is often in line with Penguin. And over the years I have listened to Evan Parker probably more than any other saxophonist. If one gets past the sort of music he plays, their take on his music is quite measured. The reality is that he has recorded a lot of music and much of it is of a very high quality and high inspiration. It's tough when one is one of greatest saxophonists who ever lived. Sure there are some rote sessions and they rate a number of them 3 stars.

I have and like the first one above. I would like to hear the others

The other Bauer is mighty fine as well My first tier modern day trombonists start with Wolter Wierbos, George Lewis, Swell and a nod to Jeb Bishop. But let me tell you, live Ben Gerstein is quite the improvisor - probably somewhat in the mold of Swell.

The music that I see and hear live these days is far different from the music I saw and heard 20 years ago And much of it is less "out" if you will Then again, I think two of the great talents in this music have never come across as well as they should on record - and those two are Tony Malaby and Mat Maneri. And yes - both of them were fledgling musicians 20 years ago - but today they are masters of their universes and what they often create live is fresh, unpredictable and strikingly today. Fwiw Get Ready to Receive Yourself

The areas of form, rhythm and related nuances of music are being thoroughly investigated in the "downtown" scene. All of these musics are well within the confines of jazz to my ears. Capricorn Climber is a good example as are various Maneri led ensembles one of which I will experience on the 29th of this month. Certainly these experiments with form and or lack of such is a well worn area of many attempts going back to Air and other avant music of the 70's. I find that these are the most exciting current areas if exploration in current jazz. I am blessed to have opportunity to witness it often. Another great example was hearing the trio of Mat Maneri, Craig Taborn and Ches Smith. Easily fits under the jazz umbrella although it was almost doom metal in intensity when the trio locked into grooves and anti-grooves. Plus I go back to the William Parker quartet with Drake. Still no other band playing anything like it. Live it can be spectacularly exciting as it was on two nights this past October. Malaby's ever changing band with Monder and Waits is another prime example of something that doesn't sound like any other ensemble I've heard. Gerald Cleavers Black Host for another

I've yet to hear Blaser and will spring for a disc with Hemingway. Yes, there are not that many newer trombonists in these areas of music, but the two I really like are Josh Abrams and Ben Gerstein. Gerstein is an aggressive exciting player live and I'm looking for a good recording that features him. I'll see him live in April with Malaby.

Both of the above should be great

The only problem with The Stone is the heat in the summer. Great place to hear world class improvisors up close and real personal. Just last year i saw Evan Parker for two great nights, William Parker's quartet with Drake, Michael Moore's American Avalable Jelly and more for shows that ranked up there with anything I've ever experienced. Look at the March calendar now for shows/musicians that are not booked in supposed better venues Next Saturday I should be there for Endangerd Blood which is Chris Speed, Oscar Noriega, Michael Formanek and Jim Black The band grooves, rocks out, swings and two reed players are wonderful masterful improvisors. And if you've not seen Jim Black in this sort of swinginish context, you might want to take a listen

Bad news is that Randy Peterson hurt his wrist and could not play. Good news is Mat and Herb Robertson were spectacular with Mat's improvisation during the second piece as dynamic and skronky as all get out. Pure genius. Bad news is that the first set/band played only 40 or maybe 45 minutes Good news is that Charles Burnham is amazing playing a whole different sort of fiddle that Maneri and also sang a stunning Little Red Rooster Best news is I saw the GREAT Alex Blake for the first time in about 15 years and I forgot what a unique energetic force he is. Pure Sui Generis and the small crowd loved him as did I Kresten Osgood is a wonderful drummer and a howl and a spirit I'll never forget!

Show of the year for me as far as my expectations! See 3/6/14 @ Cornelia Street Cafe

As we know it is a different age as 35 today is young compared to the days when the whole bandstand was all often under 30 or 25. I certainly think of anyone under my own age of the newer generation. Plus there is a long tradition within the outtish portions of this music and if one has been on the "scene" for under 10 years, that is a relatively short time. I certainly think Wooley, Halvorsen, Sorey, Jones, Smith, Ban, Sacks, Evans, Davis, Gerstein, et al are of the newer generation. They are all in one way or another highly connected to that previous group that includes musicians like Malaby, Berne, Cleaver, Rainey, Waits, Maneri, Noriega and all the rest

I really like that What We Live recording. Expansive, relaxed and a great sounding recording to boot.

I would say that I often agree with you, but seeing her the other day in that duo, that she was playing like she was running scared (in a good way). Super intense and ferocious, also clearly being challenged by Tom, who gets more monstrous every time I see him. I was thinking of going next weekend for the "standards" band with Laubrock, Alessi, Davis and Gress - but alas I doubt I get the "Monstrous" Rainey in that context.