Matthew

I was listening to Anthology of American Folk Music tonight, and it finally struck me how people can connect Ayler to the "Folk Music Tradition." They both have a concern for all aspects of life; the good, the spiritual, the bad, and the sinful. The rhythms and sounds of Ayler and folk have a kinship of feel to them that seem to be almost of an organic nature. It's as if some of the lyrics of these traditional songs could be used to express some of what Ayler was trying to communicate. Volume two of the Anthology, the Social Music one, really has a Ayler feel to it. PS: Reading this over, I'm not too clear on what I'm trying to say, but listen to volume 2 and the Ayler "La Cave" recordings and hopefully you'll hear the connection also.

Gee, thanks everyone. Can't say enough about how much I've enjoyed my time on the board. My birthday present was the Dylan concert, which was fantastic, so, I'm a happy man. PS: Yes Chuck, I did listen to What Are You Going To Do With Your Life?. And also this thing called the Art Ensemble: 1967/68, which was also pretty good.

Jeesh, I truly hope not.

Thanks! His Bobness kind of mumbled through his name.

Dylan gave a great concert at UC Irvine last night. He's on this "College Tour" where he is going to colleges throughout the country with his band. Small band, with a basic music line-up: Stu Kimbal on lead guitar, Larry Cambell various guitars, Tony Garnier bass, and drummer (sorry, couldn't catch the name). They came out dressed like "Jason and the Scorchers;" the long , grey C&W coats, while Dylan was in black. Very hard driving music where even familar material cam across with new life. Dylan was in great form, his vioce was outstanding, and his harmonica playing was a wonder to behold, with several great solos. Set list had some interesting choices for the night. Masters of War never sounded as timely as last night; Highway 61 Revisted was a powerhouse rocker; and my personal favorite, Every Grain of Sand was a thing of beautiful to hear live. If anyone is interested in Dylan, go see him on this tour, he is truly in great form. Set list from last night: To Be Alone With You The Times They Are A-Changin' Tweedle Dee & Tweedle Dum Floater (Too Much To Ask) It's Alright, Ma (I'm Only Bleeding) Make You Feel My Love Highway 61 Revisited Boots Of Spanish Leather High Water (For Charley Patton) Every Grain Of Sand Masters Of War Honest With Me It Ain't Me, Babe Summer Days encore Like A Rolling Stone All Along The Watchtower

Here's a list of the musicians in the RTR: Joan Baez Guitar, Vocals Bob Dylan Guitar, Vocals David Mansfield Dobro, Mandolin, Violin, Guitar (Steel) Roger McGuinn Guitar, Vocals Bob Neuwirth Guitar, Vocals Scarlet Rivera Violin Luther Rix Percussion, Conga, Drums Mick Ronson Guitar Steven Soles Guitar, Vocals Rob Stoner Bass Howie Wyeth Piano, Drums

Amen to that!

Oh yes. But I would argue that bass clarinet is a different instrument. Well, in that case, I'll vote for Artie Shaw.

Could be the Ayler felt more secure spiritually with his brother playing next to him, and this allowed Alyer to explore that side of his music to a deeper level, than if he had a more technically adept trumpter. Seems that Albert Ayler felt the spiritual/emotional aspect of his music was where his reality lay, and he was going to follow that path for all that it was worth. This is not to say Don Ayler was a bad player, just that his strength lay in a different approach to the trumpet (I'd love to have someone reissue Don's three record release). Whatever the case, Don Ayler's trumpet held together that group, almost functioned as a rythmn instrument, if that makes any sense.

Listened again the the Ayler/Cherry concert from disk two, and it's amazing how Cherry picks up on Ayler's style. On Spirits, there's a part where Ayler's playing his solo very high, then Cherry takes over, and it took me a moment to realize that they switched off. Love Don Ayler, but this makes me wonder what Ayler could have done with a more technically advanced trumpter in his later stage.

I really like how Peter Brotzmann plays the Bass Clarinet; very creative and he gets a different emotional feel from it than the sax.

It's not even in Ameoba's in L.A. Looks like you have to go on-line for this one.

Become hung up on the Ayler / Cherry recordings. Very powerful, and there are times when you get hear a glimpse of the power that Ayler must of had live. I alomost jumped out of my seat when the first note of Spirit came blasting out.

Sad to see this. I received my B.A. in philosophy (long story) and had to read a lot of Derrida; not to mention Foucault, and Levi-Strauss.

Going back through this thread I had forgotten about this documentry. Does anyone know what's happened to this project?

Just listened to disks 1 & 2 last night, and the music was great. Packaging is a wonder to behold, and really dig the "spirit box" idea -- though I keep all my cds in my bedroom so there are plenty spirits running around.

Murphy's Law no. 5,467: You will aways discover that the artist that you are now interested in (Brotzmann), will have played within easy reach just before you become interested in him/her!

We're here to help.

I have 20 unopened Hathut's lying around, and I've yet to listen to Cecil Taylor's "Two Teas for Texas" box set (which cost me an arm & leg). I also have a lot of stuff I've listened to just once that I need to get back to.

This really deserves, and I'm using this for the very first time, a WTF???

Dare I bring this up again from the land of lost threads? Well, of course I will. This Lyons is a major artist, and with each listen of "The Box Set" my adimration grows and grows. There's a great humility to Lyons' playing; my sense is that for Lyons, the music was truly the most important thing, not himself, not wowing people with his music, but it was just Lyons and his music, trying to communcate. The solo work on disk three is almost transparent in the way he lays everything out, a kind of braverary to it. This man was a musician, pure and simple, and should not be forgotten.

One duo disk that I really enjoy is: Anthony Braxton - Georg Grawe duo [amsterdam] 1991. Braxton and Grawe feed each other ideas and allow space for those ideas to flower. I'm beginning to enjoy the duets and solo work by Braxton; they seem to give him more room to explore than his larger group work.

Bob Dylan: Chronicles, Vol. 1. Pure crap. Don't bother. Writing is terrible; no insight into anything, and HUGE gaps. Should've know that Zimmy wasn't going to reveal anything about his life this side of the grave

If you feel like an adventure, Brozmann's early cds are very interesting. Machine Gun, of course, is a clarian call for "Free-Jazz", plus it is an amazing record to listen to. Each time I play it, I don't know whether to throw it against the wall, or play it again. I've really have come to like 1973 - FMP130, and very strange and creative mix of noise, beauty, yelling, and just a different musical experience. Edit: bad spelling

I haven't heard this before. Just wondered what was the source. I know I've seen pictures of him w/scores in front of him at recording sessions (the big band stuff I presume.) Of course, he could have been using that as a chord chart. This seems strange to me, as both of his parents were music instructors from my understanding. And taught him piano in his youth. I could be wrong on this information. Just curious. As for the intent of the original thread.... Opinions like his are more the rule than the exception I believe. Sophistication is acquired. I've always been curious about that statement also, and I've heard it many times. This quote is straight from AMG: He attended the Hamilton School of Music in 1948, and Ornstein School of Music in 1949 and 1950 in Philadelphia. It always seemed to me that if someone spent three years in music school he would at least know the rudiments of sight reading.