Steve Reynolds

why were you surpised to see Michael Moore? because he probably plays more alto saxophone than clarinet? just curious

and probably the same for us! especially for those who have a distaste for the quote, un-quote outer reaches of music..... that music is much easier to be appreciated by those who don't know that it is supposed to be difficult to *get*

OK - received Long Story Short and all I had so far was on the way to work today so the question was for 40 minutes what do I choose? So I listened to the DKV plus which is Kent Kessler: bass; Hamid Drake: drums; Paal Nilssen-Love: drums; Massimo Pupillo: electric bass; Ken Vandermark: reeds; Mats Gustafsson: reeds - 11 minutes of something mostly soft turning into a different kind of onslaught ending with Mats on baritone moaning - nice so then I put on the following for the remainder of my drive knowing I will hear about half of the 51 minute piece: Peter Brötzmann: reeds; Bill Laswell: electric bass; Maâllem Mokhtar Gania: guimbri; Hamid Drake: drums and despite being unsure of believing the 2 reviews I have read that this would be amazing, I am sitting at my desk still dumbfounded by the first half of this turning it off as I pulled into the parking lot at work as Gania started singing again - having heard a few grooves I never thought I would hear Brotz play with, against *and* despite. Laswell and Drake rule the universe please for those who are still a bit bound up..... Let the Horse Go

thanks, and I remember it being a great one!

I'm not the biggest Matthew Ship fan, at times he is invigorating to listen to, while at other times he is overbearing and ponderous at the piano (as he was during the first 30 minutes of the Dunmall quartet during last June's Vision Festival). however, on the two occasions I've seen Michael Bisio, both times I came away knowing I'd seen one of the best bassists in that world of music- the last time with Avram Fefer last fall, he was pretty damn close to unbelievable.

now those above Prestige dates would be something I would buy in one great box set. At one point in time, I had about 90% of them and today, I own none of them. maybe the worst CD collateral damage of any artist outside of Miles and Monk I had from 2003 and 2004 when my CD collection took a large somewhat unexpected self-imposed beating/shrinkage...... I LOVE Blues Book and the live session with Dexter. I also loved the ENJA recording with Horace Parlan - anyone remember the name of it? It had the one long groove based track. I always found about 2 tunes on each record that i would like and they were always the fast/medium tempo with the long emotional solos and I never gave a wit that the solos were close to same as the last one!

I will get the 2 CD set with the two drummers when it comes out

If I remember correctly Mr. Fripp didn't say a word. I have always wondered if they continued to do the same thing at the other stops on the tour.

great Bill Evans story King Crimson in 1982 on the Discipline tour in Boston (at the Music Hall if I remember correctly) played probably the whole Discipline LP along with two older tunes - Red and Larks Tongue in Aspic, part II for the encore, it was *again* Larks Tongues in Aspic, part II ran out of tunes to play. I suppose - I was hoping they had planned to reprise Fracture fromt he earlier incarnation of the band, but it was just the two above tunes - very odd to hear it repeated, but if I recall it was still fantastic.....

Seconded! Greatest thing I've read in TEN years!!

Btw I am only half joking. It worked with my wife. Live jazz played by the greatest musicians I know with a great drummer in the band. In or out or way way out, it doesn't matter. Again the idea that if the kid doesn't like the old classics at first then he won't like jazz is a flawed thought. Kid or otherwise, some people get into jazz through Mats Gustaffson. A friend of mine came into the music through Brotzmann Not suggesting it is for a 10 year old but Hamid Drake live would work for anyone.

Bring him to The Stone in October and place him 10 feet in front of Hamid Drake Deal will be sealed

My point might be that whether it is a 10 year old or a 20 year old the assumption that the older classics is the way to introduce jazz to a new listener is flawed in so many ways that I won't begin to start to try to explain.

Must have some current jazz

Les Stances a Sophie

I thought it was about drug addiction

Blue Train: Love the Irabagon trio but not sold on the Ullman. That 2 CD set is easily the most disappointing of any of the not two CDs I ordered

Ordered the following: Long Story Short Jon Irabagon Trio with Barry Altschul: Foxy Barry Altschul Trio with Jon Irabagon: 3dom Factor Couldn't wait for the May 16th show. Wanted to wet my appetite for Irabagon with Helias and Altschul Btw Clifford, the Mad Dogs set is a must buy even though it isn't cheap. The sound is amazing and Guy selected primo performances based on listening to most of it a couple of times through.

Respect Sextet: Fred Anderson's 3 on 2 Great 14 minute version. Very unique take on Fred's great composition

Bruce has always been good with me. A few mail orders over the years and when I get to the store, it is a treat.

Certain artists record like there is no tomorrow, certainly most jazz musicians get their music released on independent labels with results that vary wildly. Many have releases on multiple labels. Take a look, for example, at Jon Irabagon's very large discography. He is an active NY jazz musician who is much less well known than Charlap yet he is very heavily involved in recordings, gigs, etc as are many, many other jazz musicians who are rarely mentioned on this board.

Mad Dogs

Joe Maneri retired from playing in 2005 at 78, I believe I think George Coleman is playing right about now at the Jazz Standard Don Van Vliet famously quit music in 1982 I saw Benny Carter when he was 90 and he was pretty damn great. As was Al Grey who was in the band

I will guarentee that Nasheet will be great

and the hatology Maneri discs Dahabenzapple, Coming Down the Mountain and Tenderly are all much better than the ECM or the Leo quartet recordings. the three of them are all of a piece all recorded in 1993 and feature the quartet in great sound and in stunning early performances as I have lived with these recordings over the past almost 15 years, I have to come to believe that these three recordings to my ears are among the greatest free jazz/improvisation recordings made over the past 40 years. Stunningly original, tension filled and still fresh as paint. the 2 CD Leo Trio set recorded in 1998 with Joe, Mat and Randy is another one to look for. I'll be getting the duo set with Mat & Randy on no business - Light Trigger - Mat says it's a good one.