Steve Reynolds

Thanks for posting this, Clifford Not in agreement with very much for whatever reason, he rubs me very much the wrong way even though I can't pin point why. I'm always reminded that I was aware that in the late 90's he was known to check out Tower Records big store in NYC every day to see what was sold of his. Self-importance to the extreme That is what irritates the fuck out of me about Matt Shipp

I am not in the camp that has Berne doing it for the money or that the music itself is in any way compromised. My only beef is the actual sound. I want to hear Formanek breath, I want hear the strings, I want to hear the resonance of his gorgeous bass sound. I want to hear Cleaver's amazing crisp powerful sound. Another example is on Small Places where there is an aggressive passage during the first or second track and the band is smoking but the sound is muffled and subdued. That's all - nothing else and nothing more from me on this subject for a while Peace and Blessings

Nobody said all music needs to be as you said above The reality is it is NOT bashing Maybe answering the critique (much different than 'bashing') might provide some insight

My wife also says YES!!

Yes

Anyone ever hear Michael Formanek live? For those who haven't, he has a gorgeous resonant sound consistent with the sound of his bass on those great enja releases from the 90's Tell me - anyone - you hear that sound on either ECM release?? Regarding Xybert's comments: And I haven't seen Snakeoil live but I do know Ches Smith is a beast live and he is anything but on the ECM recording

Most of the great shows I've seen over the years have been at Tonic, The Stone and Cornelia Street Cafe Very, very few recordings of anyone for whatever reason have been released of anyone from these venues

My latest is DP 31 8/74 Great playing from all especially Lesh. Yes Bill is a groove master Vocal suffer especially Bob - WRS is very weak

Maybe grit

Why I havnt bought it. Burned too often lately by the ECM effect. I'm sure if they can take the snap and crackle out of Gerald Cleaver and Ches Smith, they can do the same to Billy Hart. Fwiw, they might even be able to take the groove out of Hamid Drake if they ever had the chance

The set is worth it for Darek if youe really love Drake He sounds great and his approach and vibe differs throughout all 7 discs

Blue Train is correct. My two large orders shipped right away and I was very satisfied I am working on a new order that will include the KV Resonance Box to ensure I get the free shipping. Trying to figure out which other discs to choose....

I'm a fan of the above set. 3 or 4 of the shows are great - 2 or 3 are OK and there is one clunker just odd that the poorest show (I think one of the 2010 shows) was included. I'll post when I get to it more details the 2008 show with the Don Cherry tunes is wonderful and the 2009 show is spectacular the last 2 shows are very good from 2011 plus as per usual with Not Two from my brief and limited experience, the sound quality is exemplary

another good comaparison would be the Clean Feed Trespass Trio (which is very good, btw) with Raymond Strid and compare it to the Raymond Strid on let's say Tarfala on Intakt. totally different quality of sound

I just googled it and it is 95 miles from my home. Would love to take off September 13th and take an afternoon drive to see Gerald Cleaver's incredible ensemble Black Host

enjoyed reading this Actually the band that played Frankenstein is called Tony Malaby's Readibng band and what they do is each member brings charts and they pass them out right before they play the compositions without anyone knowing what was going to be handed out. Soem of it was a bit outre and one Sidney Bechet tune (which Malaby chose) wasn't entirely convincing, but they showed that musicians of that calibre can pretty much play anything and sometimes play it more than great.

fwiw - I heard Frankenstein played by Tony Malaby, Ralph Alessi, Drew Gress and Billy Drummond last year to close out the secnd set this all brings up another topic that may deserve it's own thread - Is the *value* of a composition or composer related to whether or not the tune is a standard or so-called standard or is covered by others? I am of the opinion that so many tunes are played because they *have* been played and in certain jazz communities will always be played and within those communities, will be played forever in some cases ad fucking nauseum then ask them about Hemingways' "If You Like" or Andrew Cyrille's "Shell" as a couple of examples of truly great compostions that are never covered by anyone - be ready for the blank stare - and then maybe they will give Cherokee or Round Midnight or A Night in Tunisia another run through - or if they get frisky, Mal Waldron's ONLY standar "Soul Eyes" a try or maybe even something from the 1960's! so as someone once asked, if Anthony Braxton is playing contrabass saxophone int he forest and no one hears it, does it exist or does it matter? Johnny's Corner Song, baby

not talking about a list Am I allowed to make a vlaue judgement that Joe Zawinul (admittedly I am not a fan of Weather Report - just never interested) doesn't belong in the pantheon that inlcudes, IMO, the greatest jazz composers in the history of this music - Monk, Duke and Mingus? for me personally - I am more interested in Mal Waldron's compositions that Horace Silver or Andrew Hill or most any of the guys listed - but I'm not throwing his name in with Monk, Duke and Mingus..... It just seemed shocking to me that of all people, Joe Zawinul would be placed in that company - before Wayne Shorter, Miles Davis and a number of others that would come to mind for most thinking, discerning jazz listeners. maybe somehow I've been missing out on Joe Zawinul - then again I know lots of you guys havn't shown a tiny bit of interest in many modern day composers whose work qualifies for them to sit in an alternate doppleganger pantheon Slamadam, baby

I did not place Rivers, Henderson, Young or Hutcherson in the same category as Mingus, Coltrane or Duke I mentioned them as Blue Note artists who do NOT make simple or basic music - which you said is what Blue Note was mostly about. In fact, you are the one who put Joe Zawinul in the category of the all-time greatest jazz composers.

the first Exploding Customer disc on Ayler is the one to get - listen to the drummer's sound on this one and compare to his sound on the Clean Feed, Havn't heard that Clean Feed but he is explosive on this recording - sound like a show - and it is a show - can feel the sweat and the heat of this exciting band and rollocing drummer. yes - I Wonder If I was Screaming is great and hard to find at a decent price AALY's Hidden in the Stomach and Live at the Glenn Miller Cafe are even better

Will be keeping an eye out for a release of this recording... great band but i love what i've heard from Aram Shelton, in particular. Nordesen is a great drummer. Check out the AALY trio recordings or Exploding Customer You will die for those recordings, Xybert

Herbie Nichols hardly recorded at all but his most prominent recordings are the trios for Blue Note Monk's orginal recordings were for Blue Note and they include a good amount of his greatest compositions Joe Zawinul cannot possibly be considered with most of the rest of those names. I wouldn't consider Hutcherson, Henderson, Shorter, Rivers, McLean, Moncur or Larry Young simple stuff Some of the most innovative and original music in the history of jazz

what I'm looking forward to: Here is the Cornelia Street Cafe show for 9/7: Saturday, Sep 07 - 9:00PM & 10:30PM CHRIS LIGHTCAP - BIGMOUTH Chris Lightcap, bass; Chris Cheek, tenor sax; Tony Malaby, tenor sax; Matt Mitchell, piano; Gerald Cleaver, drums For two nights Bigmouth will perform a new batch of music by Chris Lightcap, commissioned by Chamber Music America and premiered at the 2012 Earshot Jazz Festival. They will also play music from their acclaimed CD, "Deluxe" which was named one of the best CDs of 2010 by the New York Times, NPR, Jazz Times and the Village Voice. "Righteous" ...NY Times "Superb"...Wall Street Journal "****1/2"...Downbeat then: And I will try to make the Sunday night shows for this - if the weather is somewhat cool and not 80's and 90's outside - I am already making the Cornelia Street show on the 7th: Also at The Stone: 9/7 & 9/8: 8 pm Jones Jones Vladimir Tarasov (percussion) Mark Dresser (bass) Larry Ochs (saxes) Ochs and Tarasov met and recorded together when Rova first toured the former USSR in 1983. He was already a legend in the USSR as one of the players in the original Ganelin Trio, as important a band there for "avant-garde" listeners in the sixties and seventies as the Art Ensemble of Chicago was here. Dresser met him not long after that, and they performed together intermittently in ensuing years. This trio first performed in the Bay Area in 2008, with tours to Europe in 2009 and 2010. First East Coast performances. 10 pm Ochs-Shelton Quartet Aram Shelton (alto sax) Mark Dresser (bass) Kjell Nordesen (drums) Larry Ochs (saxes) This is a West Coast quartet. Mark Dresser is the newest member simply because it's been hard to catch him in San Francisco when he's usually very busy down at UCSD in San Diego. A recording session and concerts by the quartet out here in July has the music focused! Great writing for the band by Shelton (especially) and Ochs. Kjell Nordesen was born in Sweden but has been a West Coast resident for close to a decade. He works with all 3 of the other players in this band in other contexts All below at The Stone: 9/18 Wednesday 8 pm Duos Evan Parker (saxes) John Escreet (piano) John Hébert (drums) Tyshawn Sorey (percussion) TWENTY DOLLARS. 10 pm Quartet Evan Parker (saxes) John Escreet (piano) John Hébert (drums) Tyshawn Sorey (percussion) TWENTY DOLLARS 9/20 Friday 8 pm Mat Manieri, Lucian Ban, Evan Parker Mat Manieri (viola) Lucian Ban (piano) Evan Parker (saxes) TWENTY DOLLARS. 10 pm Evan Parker and Sylvie Courvoisier Evan Parker (saxes) Sylvie Courvoisier (piano) TWENTY DOLLARS. The William Parker week has now been diversified and seemingly finalized: I will go for Thursday (10th) and Friday (11th) I just have to see and hear Hamid Drake in that little room. THE STONE RESIDENCIES WILLIAM PARKER OCT 8—13 10/8 Tuesday 8 pm Refugee Songs William Parker (bass) Roy Campbell (trumpet) Kris Davis (piano) 10 pm Painters Autumn William Parker (bass) Daniel Carter (alto, tenor and soprano saxes, clarinet, trumpet, flute) Cooper-Moore (piano) Hamid Drake (drums) 10/9 Wednesday 8 pm Theatre of Lanterns Rob Brown (alto sax) Greg Ward (alto sax) Lewis Barnes (trumpet) Steve Swell (trombone) Cooper-Moore (piano) Hamid Drake (drums) William Parker (bass) World premier of both this ensemble and the composition “Peoples James”. “The theatre of lanterns ends a 40 year search for the sounds that escaped when the sky turned into sound and all the rainbows were set free.” 10 pm William Parker Solo William Parker (solo bass and pre–recorded tape) Dedicated to Earl Freeman. 10/10 Thursday 8 pm In Order to Survive Rob Brown (alto sax) Lewis Barnes (trumpet) Cooper-Moore (piano) Hamid Drake (drums) William Parker (bass) 10 pm Raining on the Moon William Parker (bass) Leena Conquest (voice) Rob Brown (alto sax) Lewis Barnes (trumpet) Eri Yamamoto (piano) Hamid Drake (drums) 10/11 Friday 8 and 10 pm O’Neal’s Porch Quartet William Parker (bass) Rob Brown (alto sax) Lewis Barnes (trumpet) Hamid Drake (drums) 10/12 Saturday 8 pm William Parker Quartet with poet David Budbill David Budbill (poetry) William Parker (bass) Rob Brown (alto sax) Lewis Barnes (trumpet) Hamid Drake (drums) 10 pm In Remembrance of Kathleen Wilkins William Parker (doson ngoni, shakuhachi) Patricia Nicholson (dance, poetry) Hamid Drake (percussion) At The Stone - and this will be one where if one doesn't get there early forget about getting in: 12/6 Friday 8 pm Joe Lovano, Milford Graves Duo Joe Lovano (sax) Milford Graves (drums) TWENTY FIVE DOLLARS 10 pm Joe Lovano Trio Joe Lovano (sax) and two special guests TWENTY FIVE DOLLARS Also at The Stone: 12/13 Friday 8 pm Proofreaders (the music of Ornette Coleman) Trevor Dunn (bass) Ryan Sawyer (drums) Darius Jones (alto sax) Herb Robertson (trumpet) special guest Ben Goldberg (clarinet) 10 pm Proofreaders (the music of Ornette Coleman) Trevor Dunn (bass) Ryan Sawyer (drums) Darius Jones (alto sax) Chris Speed (tenor sax) special guest Ben Goldberg (clarinet)

and he just played July @ The Vanguard I recently read the fine interview with Ethan Iverson he did a couple of year's back, He came across as fine human being. I will dig up Mosaic later today for tomorrow's drive to work RIP, sir

I need a new copy of Wels/Chicago Last 2 tracks on disc 2 remain the pinnacle for this trio: Blues for Tomorrow and Burning Sky But I've never believed they weren't based on charts