Steve Reynolds

I saw the band a couple of times with Nasheet Waits what tempos does the music not vary from? I like (as is my pleasure) when they grooved hard. I found when they went into the ballidic mode, that I could become bored pretty easily, Versace is wonderous when they push the tempos to mid-tempo or faster

The tenor player overheard me chatting with the drummer and said "tell Uli Kidd says hello"

Another comment - Sclavis even organically incorporated a stunning circular breathing passage about half way in which, planned or not, brought the rest of the band to silence. And maybe of course, maybe the strongest portions of the show were the bass-drums sequences where the famous by now even legendart rhythm section played something not quite old, but not quite new, but always what will be a mystery of the unknown groove. A groove that only exists in the air once, never to be played by any other pair, invented and channeled through the two great men. An experience that demands to be viewed, listened to, lived, and if one has a history with them, to be adored, cherished and loved like the air I breath. Never old, I'm never jaded to it, I've heard many, loved many, but for what they live and what they do, there is no greater joy than being 15 feet from The King of New York, Mr. William Parker when he is the right of the master of the vibe, the great Hamid Drake

Got there right before the Bern Nix quartet featuring Matt Lavelle on trumpet and what was a smallish looking bass clarinet. Fine gritty at times funky stuff with wonderful drumming from Reggie Sylvester. Nix is a marvel and Lavelle has a clear bright sound on trumpet but less comnvincing on his second horn. The East West Collective was a huge surprise to me working on levels I haven't even tried to figure. Ochs was great and the French cellist and French clarinetist were both spectacular. I will look up their names later. Theatrical and bracing, all three pieces were distinct and the music was thoroughly uncategorizable lying somewhere above or below or beyond jazz, improvisation, theatre and having some of the feel of thes best eai. The set was just over 45 minutes and the crowd who doesn't normally expect something of this nature was engaged within 5 or 10 minutes as was I. Final set which was the reason I went did not disappoint. After a rough beginning where Drake came on a bit too strong and Jordan and the great Louis Sclavis seemed to struggle to find their place in the ensemble playing over each other more than with started to give me pause as to what kind of musical train wreck the next 50 minutes or so might be. When the pianist Bernard Tusque came the the fore when the horns laid out, the trio of Parker, Drake and the pianist starting to get the dynamics and vibe in line. I think then Sclavis (solely on bass clarinet throughout) re-emerged it was via a more traditional approach carving post bop lines with Drake re-elevating the volume this time without overwhelming the ensemble. When they got to Drake's solo after some strong playing by all including Kidd soaring and preaching much more clearly than at the beginning, I was all in. The show ended with an almost elegiac improvisation and/or Parker sounding theme with Jordan especially almost bring the crowd as a whole to tears so deep was the vibe and the band faded to silence a little over an hour after they started Peace and blessings

Most of the schedule is up with a few holes for the 10:00 shows - in any event, no matter what the second sets for Friday and Saturday nights, these are my two nights: 9/20 Friday 8 pm Mat Maneri, Lucian Ban, Evan Parker Mat Maneri (viola) Lucian Ban (piano) Evan Parker (saxes) 9/21 Saturday 8 pm Milford Graves, Evan Parker Milford Graves (percussion) Evan Parker (tenor sax) I missed the Graves night @ Vision Fest last night and I missed the Graves/Parker duo in 2009 (which was cut short as the small club was overfilled), but I don't miss this year.

Friday night among other bands for my one night @ Vision Fest, this band @ 10:00 PM: 10:00 PM – The French-American Peace Ensemble Francois Tusques – piano Louis Sclavis – clarinets Kidd Jordan – tenor sax William Parker – bass Hamid Drake – drums same band playing in Chicago on June 19th

having heard a few of the Soul Note recordings over the years, I think the ECM material is stronger, better sounding and is more diverse. Each disc save for the two trio sessions with Brackeen, are all quite unlike each other. And the Brackeen sessions are priceless - unavailable for many years, and as you may know, Brackeen is not very well documented in relation to his abilities.

I have been enjoying the first 4 discs for a bit now. I had heard Psalm and It shoud've happened a long time ago in the past but I havn't moved on to those later recordings via this box as of yet. The trio discs with Brackeen are wonderous, with Le Voyage sounding like no other recording I own. The sound of these recordings are nothing like the current ECM offerings I have heard with the bass recorded as nicely as I have ever heard - Haden on Tribute sounds incredible and JF Jenny Clark on Le Voyage the same. comments welcome Charles Brackeen soprano and tenor saxophones Carlos Ward alto saxophone Joe Lovano tenor saxophone Billy Drewes tenor and alto saxophones Sam Brown acoustic, electric guitars Paul Metzke electric guitar Bill Frisell guitar, guitar synthesizer Keith Jarrett flute, piano Leroy Jenkins violin Becky Friend flute Charlie Haden double bass David Izenzon double bass J.F. Jenny-Clark double bass Ed Schuller double bass Paul Motian drums, percussion CD 1 Conception Vessel (ex-ECM 1028) Georgian Bay Ch´i Energy Rebica Conception Vessel American Indian: Song of Sitting Bull Inspiration from a Vietnamese Lullaby CD 2 Tribute (ex-ECM 1048) Victoria Tuesday Ends Saturday War Orphans Sod House Song for Ché CD 3 Dance (ex-ECM 1108) Waltz Song Dance Kalypso Asia Prelude Lullaby CD 4 Le Voyage (ex-ECM 1138) Folk Song for Rosie Abacus Cabala/Drum Music The Sunflower Le Voyage CD 5 Psalm (ex-ECM 1222) Psalm White Magic Boomerang Fantasm Mandeville Second Hand Etude Yahllah CD 6 It should´ve happened a long time ago (ex-ECM 1283) It should´ve happened a long time ago Fiasco Conception Vessel Introduction India In the Year of the Dragon Two Women from Padua Recorded November 1972, May 1974, September 1977, March 1979, December 1981 & July 1984 ECM 2260-65

Wrong board!! Did buy No Room for Squares yesterday

I didn't listen. No reason to listen to that belief system. It is suffocating on so many levels.

Got my fill with Drake on the 14th @ Vision Fest and then a few nights during the week at The Stone in October which will feature the GREAT Cooper-Moore

one would think that new blood would be welcomed I hope that is the case If anyone here would bother to investigate, many posters from JCS have much to offer. How about some new viewpoints on music, etc. from many of us who have many years of experience listening, hearing, discussing, remembering? Not in Kansas any longer? welcoming spirit, anyone?

a shame the place will no longer be around. however as some have noted, the volume and activity has been almost nothing for quite some time. when BBS traffic was high and the internet was newer, there was *nothing* quite like Jazz Corner - the memories and friends I've met are priceless...

Try Tom Varner's The Mystery of Compassion, a great early 90's soul note Rainey grooves on that one!

I will see These Arches when I can. Ches has a nice vibe to his playing.

Thanks! My buddy is seeing them tonight @ Cornelia Street. Of course there will be no issue with muddy sound in the great little club. Wish I could go as well but I was happy to be there for Open Loose last night

Listening to Gentle Ben now from New School and anybody doubting Malaby's brilliance needs to hear this performance on this gorgeous ballad made famous in this small circle of music by the version on Hemingway's Johnny's Corner Song with Eskelin on tenor.

Wonderful show last night. Picked up New School and Atomic Clock Band was restrained and concise. Malaby was particularly on form although with less of his way out excursions(good or bad depends on one's mood or taste), but his melodic and harmonic brilliance was on full display. I think even i take for granted how amazing he is but not last night or this morning. Listening to the older disc New School is fine place to start and Tony told me it is his favorite of the trio. Mark recommended the later Atomic Clock from the other 2 discs they had for sale. So I think that is a couple of good recommendations from the sources!!!

Word is that is still a single unit that goes off during the shows and that it will still be hotter than is humanly possible to deal with for the next 3 months or so

Here's hoping the new AC @ The Stone is working on July 28th & 29th The only thing these days I'm interested in that John Zorn is a part of. Got bored with the multiple projects/massive number of compositions/pseudo creative BS of his about 10 plus years ago. So many more focused and interesting and powerful musicians/improvisers just in NYC, let alone in the rest of the world.

Very cool to me that a few of us are all going to shows on the same night.

Look forward to hearing your comments, relyles

A few and I only have the last one which is live in France and the sound is sub-par. I'm hoping they bring a few but last couple of times they only had the most recent one

they deserve a live recording in prime sound in order to capture the monsterous power of Tom Rainey in the context of this trio, a force of nature that has *still* not been captured on record. One hopes Not Two records gets a shot at this band one day.

Thursday, May 23 - 8:30PM OPEN LOOSE Mark Helias, bass; Tony Malaby, tenor sax; Tom Rainey, drums $20 cover includes a drink http://www.markhelias.com goes without saying that I be there, I be there early, and I can't wait to see one of my favorite bands *the* band to hear these three masters at their finest