ep1str0phy Posted January 25, 2007 Report Posted January 25, 2007 That's one of those sessions where everything works, but I have to give it up to Cyrille in particular (like in previous threads)--the man is just a monster of power and flexibility on those sides. Quote
Guest the mommy Posted January 25, 2007 Report Posted January 25, 2007 yeah i have been listening to the cyrille/maono black saints a lot recently. what happened to nick degeronimo? he's pretty decent and i have not heard of him in other contexts. cyrille really made "new africa" for me, as far as BYGs go. Quote
clifford_thornton Posted January 25, 2007 Report Posted January 25, 2007 Yeah, he swings, but re: the Moncur, there were four to five other cats who made that LP! The Cyrille-Lyons duo, Something in Return, is a fine one as well. The Ayler box is great, but for sure Lyons benefitted from good recording situations, which are sorely lacking on the box (and some of the Hat Hut material). Quote
ep1str0phy Posted January 25, 2007 Report Posted January 25, 2007 Don't know about what happened to DeGeronimo, but this popped up: http://mysite.verizon.net/rutherford.ll/hi...stats/index.htm Do a "find" for his name--Lions, 1961. Was he on the Rutherford Little League roster? (it's an obscure name, so...) re: New Africa. The key track for me on that one is "When"; it's where the contrasts between the players are most pronounced. The "hand-off" between Mitchell and Shepp is amazing. Mitchell isn't reaching for those florid, explosive runs--he leans on the melody, waltzes with it--there's a tremendous push-pull tension within his lines, and the sheer force of those phrases is enough to make the listener pop. Then comes Shepp, who is flat-out, apeshit nuts... starts out with that bubbling, seething tone of his, then BOOM--all the tension that had accumulated from the Mitchell solo just comes pouring out in this tough, beautiful altissimo. What's really great is that the rhythm players feel it, too--Cyrille just unloads all this energy on the front line (that snare work is spectacular), and then it cools... they all made New Africa, and that's why I listen to this music... Quote
ep1str0phy Posted January 25, 2007 Report Posted January 25, 2007 Another note (as the regulars on this section would probably appreciate it): who here has heard/picked up the reissue of Gwigwi Mrwebi's Mbaqanga Songs? It's post-Blue Notes, pre-BoB material (with early versions of some BoB tunes), but the points of reference here are a little oblique... it might fit in with some of Masakela's work (the post-Jazz Epistle scene), as it is certainly along the lines of afro-pop--but the energy level here is a lot closer to Pukwana's Spear albums. It's a beautiful set that always sits just this side of tipping out... Quote
clifford_thornton Posted January 25, 2007 Report Posted January 25, 2007 re: New Africa. The key track for me on that one is "When"; it's where the contrasts between the players are most pronounced. The "hand-off" between Mitchell and Shepp is amazing. Mitchell isn't reaching for those florid, explosive runs--he leans on the melody, waltzes with it--there's a tremendous push-pull tension within his lines, and the sheer force of those phrases is enough to make the listener pop. Then comes Shepp, who is flat-out, apeshit nuts... starts out with that bubbling, seething tone of his, then BOOM--all the tension that had accumulated from the Mitchell solo just comes pouring out in this tough, beautiful altissimo. What's really great is that the rhythm players feel it, too--Cyrille just unloads all this energy on the front line (that snare work is spectacular), and then it cools... they all made New Africa, and that's why I listen to this music... I LOVE THAT TUNE!!! Best one on the album, for sure, and for all the reasons you put so well... Don't know Mrwebi, sounds like it would be up my alley though. Quote
Д.Д. Posted January 26, 2007 Report Posted January 26, 2007 re: New Africa. The key track for me on that one is "When"; it's where the contrasts between the players are most pronounced. The "hand-off" between Mitchell and Shepp is amazing. Mitchell isn't reaching for those florid, explosive runs--he leans on the melody, waltzes with it--there's a tremendous push-pull tension within his lines, and the sheer force of those phrases is enough to make the listener pop. Then comes Shepp, who is flat-out, apeshit nuts... starts out with that bubbling, seething tone of his, then BOOM--all the tension that had accumulated from the Mitchell solo just comes pouring out in this tough, beautiful altissimo. What's really great is that the rhythm players feel it, too--Cyrille just unloads all this energy on the front line (that snare work is spectacular), and then it cools... they all made New Africa, and that's why I listen to this music... I LOVE THAT TUNE!!! Best one on the album, for sure, and for all the reasons you put so well... Don't know Mrwebi, sounds like it would be up my alley though. My favorite track as well (I don't like the rest of the album that much, frankly), and some of the best solos of Mitchell and Shepp I've heard. Quote
clifford_thornton Posted January 26, 2007 Report Posted January 26, 2007 Surprised you don't dig the rest of the LP... but "When," my god! Quote
clifford_thornton Posted January 26, 2007 Report Posted January 26, 2007 Assume you have all heard the new one on Capri? Excellent stuff, with Cyrille, Billy Harper and sundry others... Quote
Chalupa Posted January 26, 2007 Report Posted January 26, 2007 Assume you have all heard the new one on Capri? Excellent stuff, with Cyrille, Billy Harper and sundry others... I haven't. How's Moncur's playing on that?? I saw him last fall w/ Khan Jamal and Yahya Abdul-Majid. It was not the best show. He hardly played at all and when he did it was barely audible. And what was audible wasn't really adding all that much to the preformance. It seemed like the other two were trying to cover for him. Quote
clifford_thornton Posted January 26, 2007 Report Posted January 26, 2007 He has had some mouth problems which do limit his playing somewhat. Still, that disc is fine and he sounds good. I recommend it highly. Quote
felser Posted January 27, 2007 Report Posted January 27, 2007 He has had some mouth problems which do limit his playing somewhat. Still, that disc is fine and he sounds good. I recommend it highly. Moncur is about to turn 70. Can't go on at the highest level forever. I liked his work on the 'Lee Morgan' Blue Note album in the early 70's. Quote
clifford_thornton Posted January 28, 2007 Report Posted January 28, 2007 I think some of his health problems surfaced in the late '70s/early '80s. Yeah, that Lee set is bananas... Quote
brownie Posted January 28, 2007 Report Posted January 28, 2007 There's a film with and about Grachan Moncur currently in the works! Quote
ep1str0phy Posted January 28, 2007 Report Posted January 28, 2007 He has had some mouth problems which do limit his playing somewhat. Still, that disc is fine and he sounds good. I recommend it highly. Being a tremendous Moncur fan, I was overwhelmingly happy hearing just how "together" the Capri set was. Truth be told, the sidemen contributions are tremendous--but Moncur's beautiful sound, that cerebral, somewhat eldritch psychology, is all over the thing. I second C's recommendation... So brownie--is Grachan simply a featured artist in this film (encompassing, for example, many of his peers), or is this joint generally centered on him? Quote
brownie Posted January 28, 2007 Report Posted January 28, 2007 So brownie--is Grachan simply a featured artist in this film (encompassing, for example, many of his peers), or is this joint generally centered on him? The film is with and about Grachan. Being shot by the person who made that documentary about Gary McFarland... Quote
king ubu Posted January 29, 2007 Report Posted January 29, 2007 So brownie--is Grachan simply a featured artist in this film (encompassing, for example, many of his peers), or is this joint generally centered on him? The film is with and about Grachan. Being shot by the person who made that documentary about Gary McFarland... So is there any footage of Grachan jamming with McFarland (possibly on Bacharach or Beatles tunes)? Quote
ep1str0phy Posted January 29, 2007 Report Posted January 29, 2007 What I want to know is when the official website will begin selling merchandise. If we can't get long OOP albums (Echoes of a Prayer? Please?), then we should at least have shirts--I mean, who wouldn't wear a tasteful Grachan shirt? Quote
king ubu Posted January 30, 2007 Report Posted January 30, 2007 What I want to know is when the official website will begin selling merchandise. If we can't get long OOP albums (Echoes of a Prayer? Please?), then we should at least have shirts--I mean, who wouldn't wear a tasteful Grachan shirt? An evolution shirt? You might be taken for a darwinist and get stoned (well yes, that's what it meant *before*, I guess) by some re-born again messiases Quote
clifford_thornton Posted January 30, 2007 Report Posted January 30, 2007 Hell, I can't even find a Lungfish shirt... Quote
ep1str0phy Posted January 30, 2007 Report Posted January 30, 2007 Yeah, interestingly I don't have the Evolution shirt, although my girlfriend has developed the (loveable) habit of getting me new BN ropeadope apparel every holiday/birthday (word: the New York Is Now shirt is great...). Quote
Guest the mommy Posted January 30, 2007 Report Posted January 30, 2007 those shirts look kind of thick and the kind that are wide-ish. is this true? they don't look sleek thin and fitted like american apparel shorts, no? Quote
ep1str0phy Posted January 30, 2007 Report Posted January 30, 2007 I'm a pretty trim guy, but the shirts fit well. These aren't those bigass novelty store jazz shirts, to be sure--they fit like your average "hipster" band T-shirt (which isn't necessarily a bad thing, 'cause I've held for years that jazz shirts are almost uniformly unflattering). -Another issue: anyone have any opinions on certain improvisation philosophy texts? I'm a reader/guest lecturer for a improv history course this semester, and I think I'll be getting the "kids" to be reading George Lewis (Gittin' to Know Y'all) and Cardew (Towards and Ethic of Improvisation)... I've been looking for something to bridge the gap between the AACM and the early Europeans--particularly the gulf between perspectives on shared/cultural identity--but few papers address the topic directly (Lewis's certainly does, Cardew implicitly). Quote
king ubu Posted January 30, 2007 Report Posted January 30, 2007 Derek Bailey? I haven't read his book, but even a few quotes from interviews are very insightful, I think! One of the wittiest minds of any music, ever, methinks! Quote
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