Chalupa Posted February 15, 2007 Report Posted February 15, 2007 Holy crap! http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...=ADME:B:SS:US:1 Quote
brownie Posted February 15, 2007 Report Posted February 15, 2007 Holy crap! http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...=ADME:B:SS:US:1 I got my copy from Milford Graves -_- Quote
jon abbey Posted February 15, 2007 Report Posted February 15, 2007 there's no actual bid there. a seller can ask for whatever they want, that's not impressive in and of itself. it's when two people decide to pay that much (because one alone won't do it) that things get crazy. Quote
clifford_thornton Posted February 15, 2007 Report Posted February 15, 2007 Somebody will buy it for $1200, I'm sure. Quote
jlhoots Posted February 15, 2007 Report Posted February 15, 2007 Holy crap! http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...=ADME:B:SS:US:1 I never had this one, but I sold Nommo about 10 years ago for $75. Quote
Chalupa Posted February 20, 2007 Report Posted February 20, 2007 Holy crap! http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...=ADME:B:SS:US:1 Someone placed a bid!! Quote
ep1str0phy Posted February 20, 2007 Report Posted February 20, 2007 Who the hell has that much disposable income? Quote
clifford_thornton Posted February 20, 2007 Report Posted February 20, 2007 A number of people in recent memory... Would much rather have this than a DG of True Blue... Quote
brownie Posted February 21, 2007 Report Posted February 21, 2007 Somebody will buy it for $1200, I'm sure. 4 bids brought this one up to $1,784.99 Quote
Alexander Hawkins Posted February 21, 2007 Report Posted February 21, 2007 Why not just hire Milford to do a solo set in your living room for that? Quote
clifford_thornton Posted February 22, 2007 Report Posted February 22, 2007 Not entirely surprising, this price, though I will admit it seems to me completely Quote
Chalupa Posted March 2, 2007 Report Posted March 2, 2007 Just got this announcement in an email. I'm not familiar w/ their music. Any opinions?? Ars Nova Workshop presents: Sunday, March 4 | 8pm BORBETOMAGUS with Don Dietrich, saxophone; Jim Sauter, saxophone; Donald Miller, guitar + RAVI BINNING, harmonium & electronics + ALUMBRADOS (featuring members of BARDO POND) International House Philadelphia, 3701 Chestnut Street $8 General Admission Read the excellent CityPaper feature: http://www.citypaper.net/articles/2007/03/01/over-the-line The words loud and aggressive only begin to scratch the surface of this proto-punk free jazz band; Borbetomagus sets forth a sonic squall that obliterates and has been described as "a huge, overpowering, take-no-prisoners mass of sound." While participants on the downtown New York free improv scene have long thrived on chaos and extremes in volume and timbre, none of them got there before this upstate New York ensemble. Borbetomagus has been pursuing their noisy muse since the late 1970s. They have collaborated with Sonic Youth's Thurston Moore, Tristan Honsinger, Peter Kowald and others, and have been influential on many American free jazz and noise musicians. Please join us for this very rare visit. Complimentary earplugs will be provided. eFlyer: http://www.arsnovaworkshop.com/BORB.gif Quote
John B Posted March 2, 2007 Report Posted March 2, 2007 For $8 I would see Borbetomagus out of curiosity but I would definitely make sure I saw Alumbrados. I just finished listening to a self-released album of theirs and really enjoyed it. I'm not sure why they would be on a bill with Borbetomagus, though. "Much different than the lumbering jams of Alasehir are the drenched ethno-drones of Alumbrado. Featuring Bardo Pond's John & Michael Gibbons on guitar, sitar, cumbas and various percussive instruments as well as Michael Zanghi and Aaron Igler with additional electronics and percussion. Alumbrados is a beautiful, rhythmic and tremendously arranged psychedelic experience. " Quote
7/4 Posted March 2, 2007 Report Posted March 2, 2007 Just got this announcement in an email. I'm not familiar w/ their music. Any opinions?? Ars Nova Workshop presents: Sunday, March 4 | 8pm BORBETOMAGUS with Don Dietrich, saxophone; Jim Sauter, saxophone; Donald Miller, guitar + RAVI BINNING, harmonium & electronics + ALUMBRADOS (featuring members of BARDO POND) Loud wall of noise. Horns blow harmonics with microphones jammed in bell of saxophones, guitar is played with distortion, files and ebow. Bring ear plugs. I also got this: Fellow Travelers & Lowly Companions: Please Take Note of the Following Concert Event! Donald Miller: electric guitar (1st NYC performance in a year, 2nd in 3.5) Tatsuya Nakatani: percussion Michael J. Schumacher: electronics Thursday, March 8 8:30 pm Diapason Gallery 1026 Avenue of the Americas (between W.38th & W.39th Sts.) Subways: 1, 2, 3, 9, B, D, F, Q, N, R, W to Times Square/42nd Street $10 And PLEASE pass the word on. I might check this out. Quote
clifford_thornton Posted March 2, 2007 Report Posted March 2, 2007 Nakatani and Don Miller would be pretty good in and of themselves... Quote
mandrill Posted March 3, 2007 Report Posted March 3, 2007 Is "Funny Rat, Peter Brotzmann & Shoji Hano" Organissimo's way to say "Free jazz discussion thread"? 462 pages seems a bit excessive for discussion of this particular album, good as it probably is. Quote
ep1str0phy Posted March 3, 2007 Report Posted March 3, 2007 Welcome to the club... (To chime in...) Borbetomagus is well worth the price of admission--it's virtually a one-note affair, but a good one-note. Hardcore, guitar-laden, ultra-altissimo noise skronk--like a less "spiritual" Last Exit (I find myself using that adjective with reservation, but there's surely something to the ceremony and violent ecstasy of that latter group). B. was a seminal group, and often formidable (for that sorta thing...). Believe it or not, tonight is the first night I spun For Adolphe Sax/Morning Glory. After hearing about this one for so long, I'm happy to hear that it isn't a historically inflated Aylerian bashfest. The similarities are certainly there, but there's absolutely nothing tentative about the ensemble (Brotzmann in particular). What it lacks in polish and mastery it compensates for in force, militant fervor. I like these "there's a riot going on" free music albums. (A completely different note: I'd be thrilled to hear Brotzmann with the Peacock/Murray rhythm team--especially, in a "what if?" sorta scenario, at this vintage). Quote
Nate Dorward Posted March 3, 2007 Report Posted March 3, 2007 Yeah, I think Peacock is completely uninterested in fire music nowadays. A pity (ditto Dave Holland's mainstreaming). Quote
clifford_thornton Posted March 3, 2007 Report Posted March 3, 2007 This might sound like a cop-out re: Peacock, but if you played in the early Ayler groups, what else is there? I too remain unconvinced by much Holland's done in recent years, "nice" as it might be. Quote
ep1str0phy Posted March 3, 2007 Report Posted March 3, 2007 I don't think that I've heard Peacock in enough unique "out" contexts (what--Ayler, the Tony Williams BN dates, some ECM stuff, with a few others...) to really get a hold on what I could do in other environments. I agree that the Ayler groups were somewhere at the limit of American free jazz, though, and the only one who came out of those early ensembles with the beginnings of an entirely new syntax (Ayler excluded, of course) was Don Cherry. After Ayler, it's almost as if the equipoise to musical conservatism is only gradients of freedom... Sunny Murray, for example, has probably done his most interesting post-Ayler (and, for that matter, post-Taylor) work in a largely Aylerian/Taylorian idiom. Those more "inside", post-bop/modal albums are kind of boring to me, honestly. Quote
clifford_thornton Posted March 3, 2007 Report Posted March 3, 2007 I don't think that I've heard Peacock in enough unique "out" contexts (what--Ayler, the Tony Williams BN dates, some ECM stuff, with a few others...) to really get a hold on what I could do in other environments. I'd like to year what you could do in another environment, too! Quote
clifford_thornton Posted March 3, 2007 Report Posted March 3, 2007 Peacock was also on the Lasha-Simmons Contemporary date The Cry, though that's more freebop than "free." I'd also bring up Bley as another regular Peacock associate during the mid-60s. Quote
ep1str0phy Posted March 3, 2007 Report Posted March 3, 2007 I don't think that I've heard Peacock in enough unique "out" contexts (what--Ayler, the Tony Williams BN dates, some ECM stuff, with a few others...) to really get a hold on what I could do in other environments. I'd like to year what you could do in another environment, too! Ha! You and Freud gots me... I like his stuff with Bley, and it seems to be the freest he gets nowadays. It's strange, though, how abruptly he seemed to have "cut off" the energy side of things after Ayler. Maybe he got turned off to it somewhere down the line... I recall a Downbeat interview with Carla Bley--a master organizer of progressive improv, right?--going nuts about how awful Peters Brotzmann and Kowald were (having toured with them--modern improvisers in a completely different, decidedly freer bag). So many capable players turned around on the free scene after the music dropped into the post-Aylerian deep-end. Quote
Chuck Nessa Posted March 4, 2007 Report Posted March 4, 2007 So many capable players turned around on the free scene after the music dropped into the post-Aylerian deep-end. Maybe you overestimated them from the/your beginning. Quote
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