Steve Reynolds

the guy that the neo boppers oughtta get a load of is Irabagon He can play anything their heroes play plus whatever else.

Maybe it's not just technique alone?

July 7th @ Cornelia Street Cafe: Mat Maneri with Craig Taborn and Ches Smith First time playing together for the trio Taborn was incredible in Mat's quintet a couple of years back

They would HATE "Scenes in the House of Music" No playing changes there as Evan Parker, Barry Guy and Paul Lytton just couldn't cut it playing straight ahead jazz so they formed a trio 30 something years ago that allowed them with their low technique or lack of being able to play changes skill to make headache causing or vomit inducing music under the legendary moniker of Parker-Guy-Lytton Of course Barry Guy is among the greatest bassists alive schooled in all forms music, having written many of the greatest large form Orchestra pieces in all of jazz over the past 40 years while Evan Parker is Evan Parker But many have no use for it, I understand - but the bullshit line is just that. Can I say much of what some like to constantly listen to is the always same old theme, solos, theme sleep and coma inducing tripe with musicians who haven't or won't incorporate anything outside of get ready for more of the same But the tired old adage about whether they can play changes, please That argument was over 10 to 15 years ago

I'm a big Eskelin fan but I think he's better when he plays uptempo or free or out than when he's playing ballads. Fwiw one ballad every other set is a-ok with me. More than that and I'm pining for groove and fire

Both!! But maybe not as GREAT as the Brotzmann Tentet when Drake was in the band - when the band played charts!! Then again Joe Maneri with Mat Maneri, Cecil McBee and Randy Peterson in NYC in 1998,,,,,, well u know me,,,,

I was at the October 29th, 1981 show at the Metro in Boston My recollection is that they played most of Discipline, Red and played Larks Tongues in Aspic pt II twice, the second time as an encore And No Pussyfooting played for quite some time before the show, which started later than advertised. At the time this was my favorite band in the world Fwiw I will buy the above 20 CD box as to my ears the 1973-74 band remains one of greatest bands this world has ever known

For me, I would rather hear him in a trio or quartet just as I prefer Evan Parker in a trio or quartet playing something nearer to jazz/free improvisation For improvisational music that is more abstract, I prefer to listen to Axel Doerner or Greg Kelley with some of the other musicians that specialize in smaller sounds in what is known by some as EAI or electro acoustic improvisation which for me is a much more subtle and less expressive form of improvisation. Once I became interested in that sort of thing over tem years ago it helped my ears and my mind into being more open to other aspects of listening and music. Of course it IS music, it just isn't for all listeners. My starting suggestion for the abstract in improvisation is always two discs first being AMM's Live in Allentown as it combines discernible instruments (drums and piano) with what Keith Rowe does. And it IS music. For what it is, it's actually some if the greatest music I've ever heard and this recording has Eddie Prevost in a mode during part of the 59 minute piece that comes from his jazz drumming background. And John Tilbury for what he does is one of the great pianists of his or really any other generation The other is called Schnee which really is one of the original old school EAI recordings from around 1998 which had me within a couple of spins after I stopped expecting to hear something that just wasn't there.

Highlights of Peter Evans week @ The Stone 9/14 Saturday 8 pm Peter Evans Octet PE (trumpets, compositions) Ron Stabinsky (piano, trumpet) Brandon Seabrook (guitar, banjo, electronics) Tom Blancarte (bass, euphonium) Dan Peck (tuba, amplified tuba, bass) Sam Pluta (live electronics, trombone) Jim Black (drums, electronics) Ian Antonio (percussion) One 2 hour set at 8pm. 9/15 Sunday 8 and 10 pm Rocket Science Evan Parker (saxes) Peter Evans (trumpets) Sam Pluta (live electronics) Craig Taborn (piano)

Wednesday, Jul 31 - 8:30PM PETER EVANS' Peter Evans, trumpet; John Hébert, bass; Kassa Overall, drums "Peter Evans' new Zebulon trio is an exploration of the extremely rare trumpet/bass/drums format. Named after the now-closed Brooklyn club, Evans works with the virtuosic and versatile rhythm team of John Hebert (Andrew Hill, Mary Halvorson, Fred Hersch) and Kassa Overall (Vijay Iyer, Geri Allen, Steve Coleman). The music seamlessly blends groove, loose improvisation and intricate compositions. "With this disc, Mr Evans and his trio have raised the bar even higher than usual. This is will be nearly impossible to top as far as trumpet trios are concerned. Mr. Evans is not the only player here in top form, both bassist John Hebert who takes a couple of astonishing solos, and drummer Kassa Overall are consistently flabberghasting throughout. All three musicians play with superhuman creativity."--Bruce Gallanter, Downtown Music Gallery

again during the first 10 minutes plus, I had this feeling that Kidd might never stop playing, but he did wind down his opening salvo - and although until I see a video or hear a tape of what I saw - I don't know how long these sections were - but there were 2 sections when the pianist, bassist and drummer played as a trio and it was for a good amount of time - there was a decently long section with Sclavis unaccompanied - and there was a good amount of time with the Parker and Drake together and then the Drake solo about 50 minutes in before the gorgeous elegy closing the ~70 minute set. The piano didn't sound as clear as I would like - but I think it was the pianist - same venue last year and Cooper-Moore, Eri Yamamoto, Charles Gayle and Craig Taborn came through loud and clear - and this year I was sitting in the front row right in front of the piano - maybe 15 feet away - last year I was in the enter front row - plus I think Tusque is not a very forecaful player and maybe his approach lends to a lighter sound. I would have liked to hear another pianist the same night to hear for sure.

Yeah without a doubt the most technically amazing trumpeter I've ever heard. Only saw him live a couple of times but I'm gonna go see his Zebulon Trio next month

DMG is still there Hard to get to but they have a huge selection of great music

That is what I thought might happen but my experience was quite different than yours, Larry I will say that Tusques did not engage with the rest of the band but I did think Sclavis and Jordan found some common language especially during the last two thirds of the set after a somewhat rough start. Plus despite the pianist not seemingly connecting too much, the two portions of the show with bass, drums and piano were still exciting to me as Parker and Drake were still Parker and Drake and the guy is still a pretty good pianist.

see my comments under Vision Fest June 14th wonderous set of music

I recently have been listening to a good amount of Hank Mobley and I think that for what he did/played on tenor in the hard bop idiom, he is without peer. And I think his tunes are mostly well above the norm for the 50's/60's hard bop era. but you cannot be serious not knowing if Hank Mobley has been discussed here - this is THE guy for this board. what is was bulit on - don't you know that he is the penultimate blue note recording artist? maybe the *most* discussed non-Miles type guy on this board use the search engine, dude

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