Funny Rat

[P.L.M]

Hi, just pass by to say hello. Can't catch with you guy. You run to quick for me.

Try to post here a bit in the near future, anyway.

That TAKTLOS festival seems to be very interesting, UBU.

See you all later.

[king ubu]

Hi, just pass by to say hello. Can't catch with you guy. You run to quick for me.

Try to post here a bit in the near future, anyway.

That TAKTLOS festival seems to be very interesting, UBU.

See you all later.

Hi P.L.M.! Nice to see you making a little visit here!

Taktlos is a great festival! It exists for quite a few years now (20, 25?) and for the last few years I tried to catch at least one night per festival. From this year's programme, it looks like I'll try Friday (Day & Taxi are good, but prob. a bit too mainstream-ish for Taktlos, but I can't wait to see Parkins/Mori!), on Saturday... I'd rather just see the Thing, or the Thing with McPhee, and not VDMK, but maybe it's worth a visit, still? How about Bergman? Never heard any of his music!

Sunday then... again, not sure about Frith, but the Kahn project looks good again.

Thanks for the Mulhouse link, will check it out!

[gnhrtg]

ubu - Would you have some idea of how much I'd have to pay to get a decent room for two at some place that is conveniently located. I also heard that Gush will be playing at Glenn Miller on the 8th of June but it's cheaper for me to travel to Switzerland.

Edited May 5, 2005 by gnhrtg

[king ubu]

ubu - Would you have some idea of how much I'd have to pay to get a decent room for two at some place that is conveniently located. I also heard that Gush will be playing at Glenn Miller on the 8th of June but it's cheaper for me to travel to Switzerland.

Maybe you want to ask David? I don't have any experience with Hotels in Zurich, none at all! And I can't offer you to stay at my (and my girlfriend's) place - no guest room here, sorry!

Oh, and what is Gush? And do yo mean the "Miller's" or "Miller's Studio" (Mühle Tiefenbrunnen, Zürich)? No place called "Glenn Miller's" here, as far as I know!

[John B]

Oh, and what is Gush?

Gush is one of Mats Gustafsson's many groups. This one also includes Raymond Strid and someone else whose name I am forgetting.

I'm about halfway through the Rossbins I ordered and have enjoyed all of them, although some did not connect as much as others. The Sugimoto / Krebs disc left me slightly cold. The other I have heard so far (More Gloom, More Light and Our Ur) are great.

Edited May 5, 2005 by John B

[gnhrtg]

Oh, and what is Gush? And do yo mean the "Miller's" or "Miller's Studio" (Mühle Tiefenbrunnen, Zürich)? No place called "Glenn Miller's" here, as far as I know!

ubu - Gush is the Swedish improvising trio, collective , of Sten Sandell on piano/voice/electronics, Raymond Strid on percussion, and Mats Gustafsson on reeds (not really Gustafsson's group but one put together on the suggestion of Frippe Nordstrom, I think, but anyway no big deal, that's how it's come to be known as due to Gustafsson's greater exposure, I guess).

Glenn Miller Cafe is in Stockholm, Sweden. Yes, should have made that clear - so I'm tryingn to decide which of these, the festival or this gig (plus whoever is on on the nights surrounding the 8th of June). More expensive to travel to Stockholm but there I might just have a place to stay.

Edited May 5, 2005 by gnhrtg

[king ubu]

Oh, and what is Gush? And do yo mean the "Miller's" or "Miller's Studio" (Mühle Tiefenbrunnen, Zürich)? No place called "Glenn Miller's" here, as far as I know!

ubu - Gush is the Swedish improvising trio, collective , of Sten Sandell on piano/voice/electronics, Raymond Strid on percussion, and Mats Gustafsson on reeds (not really Gustafsson's group but one put together on the suggestion of Frippe Nordstrom, I think, but anyway no big deal, that's how it's come to be known as due to Gustafsson's greater exposure, I guess).

Glenn Miller Cafe is in Stockholm, Sweden. Yes, should have made that clear - so I'm tryingn to decide which of these, the festival or this gig (plus whoever is on on the nights surrounding the 8th of June). More expensive to travel to Stockholm but there I might just have a place to stay.

So your choice is not only between places but also between bands... seems that Gush could be a bit of a more interesting (more hardcore?) outfit than The Thing (which, though, can pull that loose groove thing that I love a lot).

So this sounds like I cannot skip the second night of Taktlos... how about Bergman? Ain't he a bore (or so I've read - probably in here - some time back)?

Had a little private Marion Brown fest yesterday, listened to several boots in various line ups: two solo sets, a quartet with Brandon Ross, a sextet with two guitars and Jumma Santos - the guy who played with Jimi -, a free impro set with Wadada and Manfred Eicher plucking the bass, a short set of Karl Berger (with Becky Friend, and if memory is right, Alan Silva), and a fun short duo track with Gunter Hampel on bass clarinet. I have to say, I'm quite impressed! I have not heard much of his officially released albums, still need to get the ESPs, but wow! He has the ability to play simple and pure melody (a stunning 14 minute solo rendition of "Angel Eyes" that does not much more than embellish the melody, over and over) and then he can freak out, play all the typical free jazz saxophonics, blow and hoot like a madman, and within a second, he's made the transition back to pure melody and it *never* sounds forced! (This is something I often find difficult - if you play "tunes", how do you go back to the tune at the end of a solo that went all over the place? How do you enter "melodic" and straight playing again... Brown pulls that as natural as it gets!)

John: thanks for the Rossbin heads-up! I hope the discs arrive soon (haven't gotten any mail, but as that has happened to others, too, it seems, there's no need to be afraid yet).

[king ubu]

Has everybody here seen this thread? Braxton 60th Birthday Celebration

Could this be a nice "deal"? I mean I'm quite new to Braxton (got six or seven discs plus some live recordings) and I gather these Aristas are quite "talked-about", so... I wonder, could anyone post some impressions?

I have, btw, just this weekend, started to read some of Peter Niklas Wilson's book on Braxton. It's not a learned and intellectual analysis of his music, but rather an introduction written by someone who got to know the man and his music personally. Not a book for the grown-ups, it seems, but it looks like it will be a good read for me!

[gnhrtg]

ubu - No impressions but I might give some of those another spin over the weekend and also post then.

I have all the Aristas excecpt for Duets 1976, but none of the two Ring titles, on cd-r's and yes, most are pretty good - especially the quartets with either Wheeler or Lewis with, among others, Holland and Altschul in the rhythm section (I might be wrong but these are New York, Fall 1974 - which also has a duet with Teitelbaum I enjoy and a piece, or was it two, with Hemphill, Lake and Bluiett; Five Pieces 1975; Montreux/Berlin Concerts - which also has a section with a larger ensemble). The Creative Music Orchestra 1976 is another good one as are the Alto Saxophone Improvisations if you are into solo Braxton. In fact, the only one I never feel like listening to is For Four Orchestras.

So, in short, sure, I think it'd be a good deal. Again, if I happen to listen to a couple over the weekend, I'll post more impressions then.

[king ubu]

ubu - No impressions but I might give some of those another spin over the weekend and also post then.

I have all the Aristas excecpt for Duets 1976, but none of the two Ring titles, on cd-r's and yes, most are pretty good - especially the quartets with either Wheeler or Lewis with, among others, Holland and Altschul in the rhythm section (I might be wrong but these are New York, Fall 1974 - which also has a duet with Teitelbaum I enjoy and a piece, or was it two, with Hemphill, Lake and Bluiett; Five Pieces 1975; Montreux/Berlin Concerts - which also has a section with a larger ensemble). The Creative Music Orchestra 1976 is another good one as are the Alto Saxophone Improvisations if you are into solo Braxton. In fact, the only one I never feel like listening to is For Four Orchestras.

So, in short, sure, I think it'd be a good deal. Again, if I happen to listen to a couple over the weekend, I'll post more impressions then.

Please post some, if you find time to listen to any of them!

Sounds like I should contact that guy!

[Д.Д.]

Had a little private Marion Brown fest yesterday, listened to several boots in various line ups: two solo sets, a quartet with Brandon Ross, a sextet with two guitars and Jumma Santos - the guy who played with Jimi -, a free impro set with Wadada and Manfred Eicher plucking the bass, a short set of Karl Berger (with Becky Friend, and if memory is right, Alan Silva), and a fun short duo track with Gunter Hampel on bass clarinet. I have to say, I'm quite impressed! I have not heard much of his officially released albums, still need to get the ESPs, but wow! He has the ability to play simple and pure melody (a stunning 14 minute solo rendition of "Angel Eyes" that does not much more than embellish the melody, over and over) and then he can freak out, play all the typical free jazz saxophonics, blow and hoot like a madman, and within a second, he's made the transition back to pure melody and it *never* sounds forced! (This is something I often find difficult - if you play "tunes", how do you go back to the tune at the end of a solo that went all over the place? How do you enter "melodic" and straight playing again... Brown pulls that as natural as it gets!)

John: thanks for the Rossbin heads-up! I hope the discs arrive soon (haven't gotten any mail, but as that has happened to others, too, it seems, there's no need to be afraid yet).

Marion Brown is the man!

Check out his duos with Mal Waldron on Freelance (Songs of Love and Regret, second one I forgot what it is called) - here is Brown (and Wladrin) palying (with) tunes. ALl played very slow, in a mood is of reckless depression.

Also, Brown's duo with GUnter Hampel - Reeds and Vibes (on Paul Bley's IAI) - this is more "free-jazz"-leaning music, but also really lyrical.

Haven't heard his ESPs yet, and Three for Shepp (Impulse!) is actually the only Marion Brown I've heard I didn't like.

Hope the man will go back to recording.

[Д.Д.]

Has everybody here seen this thread? Braxton 60th Birthday Celebration

Could this be a nice "deal"? I mean I'm quite new to Braxton (got six or seven discs plus some live recordings) and I gather these Aristas are quite "talked-about", so... I wonder, could anyone post some impressions?

I have, btw, just this weekend, started to read some of Peter Niklas Wilson's book on Braxton. It's not a learned and intellectual analysis of his music, but rather an introduction written by someone who got to know the man and his music personally. Not a book for the grown-ups, it seems, but it looks like it will be a good read for me!

Flurin, I have heard no Arista Braxton, but from what I understand "Basel" and "Dortmund" on hatOLOGY and "News from the 70s" (on Newtone, a Felmay subsidiary) should be a good approximation of what it is like. If you want my opinion - I am not too interested (except for solo/duo projects, probably).

Talking about Braxton, anybody managed to go through all 4 CDs of the Ghost Transe Music 2001 set on Rastascan/Barely Auditable. I failed miserably.

[king ubu]

Had a little private Marion Brown fest yesterday, listened to several boots in various line ups: two solo sets, a quartet with Brandon Ross, a sextet with two guitars and Jumma Santos - the guy who played with Jimi -, a free impro set with Wadada and Manfred Eicher plucking the bass, a short set of Karl Berger (with Becky Friend, and if memory is right, Alan Silva), and a fun short duo track with Gunter Hampel on bass clarinet. I have to say, I'm quite impressed! I have not heard much of his officially released albums, still need to get the ESPs, but wow! He has the ability to play simple and pure melody (a stunning 14 minute solo rendition of "Angel Eyes" that does not much more than embellish the melody, over and over) and then he can freak out, play all the typical free jazz saxophonics, blow and hoot like a madman, and within a second, he's made the transition back to pure melody and it *never* sounds forced! (This is something I often find difficult - if you play "tunes", how do you go back to the tune at the end of a solo that went all over the place? How do you enter "melodic" and straight playing again... Brown pulls that as natural as it gets!)

John: thanks for the Rossbin heads-up! I hope the discs arrive soon (haven't gotten any mail, but as that has happened to others, too, it seems, there's no need to be afraid yet).

Marion Brown is the man!

Check out his duos with Mal Waldron on Freelance (Songs of Love and Regret, second one I forgot what it is called) - here is Brown (and Wladrin) palying (with) tunes. ALl played very slow, in a mood is of reckless depression.

Also, Brown's duo with GUnter Hampel - Reeds and Vibes (on Paul Bley's IAI) - this is more "free-jazz"-leaning music, but also really lyrical.

Haven't heard his ESPs yet, and Three for Shepp (Impulse!) is actually the only Marion Brown I've heard I didn't like.

Hope the man will go back to recording.

Thanks for these recommendations, David!

I got "Three for Shepp" and enjoyed it quite a bit so far! "Porto Novo" I have heard, too, and enjoyed it quite some!

[brownie]

A quick advisory to the two gentlemen from Switzerland.

Get the Marion Brown ESPs as soon as you can. There's some incredible music there!

[Д.Д.]

A little bit of playing with HatHut website yields these ones as likely pending releases:

Both look interesting.

[Guest Chaney]

With the dollar doing so badly, I've been falling behind on my Hat purchases. That makes me feel bad as I love the label and know that it's important to B U Y.

[Д.Д.]

With the dollar doing so badly, I've been falling behind on my Hat purchases. That makes me feel bad as I love the label and know that it's important to B U Y.

Tony, in case you are missing some the mid-priced hatOLOGY or hat[NOW]art titles, check out Jazzloft - $10 per CD.

[Nate Dorward]

I'd found the Oliveros incredibly tedious (except for the first 5 minutes, which are untypically eventful) on first release & dumped it quickly. No idea what I'd make of it now. Anyone else heard it?

[Д.Д.]

from between (SOSeditions) by Michel Doneda / Jack Wright / Tatsuya Nakatani turned out to be one of the best discs I've heard in the recent time. Available from the lable directly, or from Erstwhile.

[7/4]

from between (SOSeditions) by Michel Doneda / Jack Wright / Tatsuya Nakatani turned out to be one of the best discs I've heard in the recent time. Available from the lable directly, or from Erstwhile.

Tatsuya Nakatani is an amazing drummer. I've had the pleasure to hear him a few times. Went to a party in his studio last August.

[Guest Chaney]

With the dollar doing so badly, I've been falling behind on my Hat purchases.  That makes me feel bad as I love the label and know that it's important to B U Y.

Tony, in case you are missing some the mid-priced hatOLOGY or hat[NOW]art titles, check out Jazzloft - $10 per CD.

Thanks for that, David.

I have all the hatOLOGY titles listsed on sale but few of the Hat Arts.

[Guest Chaney]

From the e-mailing of VERGE:

REVENANT

Taylor, Cecil

Nefertiti, The Beautiful One Has Come

RUN-REV6009-3LP Jazz 646315600919 ($40.00 3LP)

The Cafe Montmartre recordings of November 23, 1962 capture the birth of

the mature Taylor style. The boppish lines of Jimmy Lyons retain ties to

the past, while Sunny Murray’s coruscating, arrhythmic washes point the

way to the future (just as they would for Albert Ayler only a few years

later). Originally issued by Freedom in 1975, Nefertiti has attained

cult status as one of the crucial recordings of Taylor’s career.

[brownie]

Originally issued by Freedom in 1975, Nefertiti has attained

cult status as one of the crucial recordings of Taylor’s career.

Just to put back in perspective, this was originally issued on the Danish Debut label as 'Nefertiti, the Beautiful ...'. It was reissued by Fontana in the mid-sixties.

The Freedom LP came much later.

[P.L.M]

According to The "SESSIONOGRAPHY OF CECIL TAYLOR", this is all the CD & LP who have been publish carrying the sum or the part of this concert.

I had, in the seventies, the FREEDOM/ ARISTA LP with his flashy cover.

If I remember well, the pieces wasn't complete on the LP.

Have now the REVENANT (under the title "NEFERTITI, THE BEAUTIFULL ONE HAS COME" like the LP) who are the more complete edition (with the Japanese CD, LIVE AT THE CAFE MONTMARTRE on TOKUMA from whom the REVENANT has taken its material, if I remember well) of this concert.

From the two last titles listed here (alternate of CALL and this intriguing UNTITLED SAMPLE), it seems than only the alt. of CALL has been published on The Black LYON CD TRANCE. But I never hear it. Generally, I avoid BLACK LYON CD

Somebody (Brownie ?) know something about the UNTITLED SAMPLE tune?

------------------------------------------------------------------------------------------------

Cafe Montmartre, Copenhagen, November 23, 1962

Trance 8:55

Call 8:44

Lena 6:39

D Trad, That's What 21:26

What's New? (Haggart & Burke) 12:10

Nefertiti, The Beautiful One Has Come 9:10

Lena 14:22

Nefertiti, The Beautiful One Has Come 8:00

Call 6:36

Untitled Sample 20:05

Cecil Taylor: piano; Jimmy Lyons: alto sax; Sunny Murray: drums

Live at the Cafe Montmartre:

Tokuma (Japan) TKCB-70310 (cd) 1994

Revenant (US) 202 (cd) 1997

Debut (DK) DEB 138 (lp) [tracks 1-4?]

Fantasy () LPS8-6014 (lp) [tracks 1-4?]

Fontana () 688602ZL (lp) [tracks 1-4?]

Fontana () SFJL928 (lp) [tracks 1-4?]

Innovations:

Freedom () FLP40106 (lp) [tracks 1,2,4]

Freedom () 28422-4U (lp) [tracks 1,2,4]

Polydor () 2383-094 (lp)[tracks 1,2,4]

Nefertiti, The Beautiful One Has Come:

Arista Freedom (US) AL-1905 (lp) 1976 [tracks 1-8]

Debut (DK) DEB148 (lp) [tracks 5-8]

Fontana () 688609ZL (lp) [tracks 5-8]

What's New:

Freedom () 28487-7U (lp) [tracks 5-8]

Freedom () FLP41005 (lp) [tracks 5-8]

Freedom () FLP40124 (lp) [tracks 5-8]

Trance:

Black Lion (Germany) BLCD 760220 (cd) 1996 [tracks 1-4, 9]

Note: Sunny Murray as Arthur Murray[!] on the 1994 Tokuma cd

[brownie]

The Revenant played an Holy Ghost on their Nefertiti doubleCD release.

The liner notes list only four sides for each disc BUT each disc has SIX tracks;

Track 5 on both is a blank fill-in space.

Track 6 on disc 1 is the 2nd version of 'Call' (all 6:36 of it).

Track 6 on disc 2 is the Untitled Sample (actually, a 2nd version of 'D Trad, That's What' (all 20:07 of it).

Have not heard (or seen either) the Revenant LP issue of this.

Let's thank Revenant for including everything available even if they erred in the tracks listings.

And let's continue to blame the out-of-tune piano at the Montmartre. Cecil Taylor must have hated that one!