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Posted

the downside is that when a thread becomes as hijacked as this one has and your interest is in Bootleg vol.3....you have to wade through a lot of unrelated material to get to what you want....particularly if you have not been following contemporaneously... say you just start reading it a month or so from now... again if what you want to know about is Bootleg Vol. 3... it turns out that now it's only about 20% of this thread.... lots of good stuff here... but lots of work to dig it out.

Sometimes it makes sense to start a new thread or pick up an old one. For example... I got very interested in the japanese Blue Note SHM cd thread and later wanted to know about whether the Ornette Coleman Atlantic recordings had received similar treatment....thought about asking the questions in the Blue Note thread but thought it was a bit off topic... remembered that there had been some discussion of various Ornette Atlantic reissues a few years back and decided to revive it there....

not saying you need too many rules.... but sometimes I have given up on a thread I found initially interesting because it had morphed into something else.... regretted it but stopped reading it and ultimately I probably missed out.

Posted (edited)

Stuart, I think it might have been March 21 at first.

Almost six weeks. I'll be ready.

Japan has March 26 as the release date of the Blu-Spec 2 version, I have that on order as well, as the Blu-Spec 2 cds of Agharta, Pangaea and three Sade titles have so impressed me. I've waited for the official release of this material so long that I splurged to get the Blu-Spec 2.

Edited by jazzbo
Posted (edited)

the downside is that when a thread becomes as hijacked as this one has and your interest is in Bootleg vol.3....you have to wade through a lot of unrelated material to get to what you want....particularly if you have not been following contemporaneously... say you just start reading it a month or so from now... again if what you want to know about is Bootleg Vol. 3... it turns out that now it's only about 20% of this thread.... lots of good stuff here... but lots of work to dig it out.

Sometimes it makes sense to start a new thread or pick up an old one. For example... I got very interested in the japanese Blue Note SHM cd thread and later wanted to know about whether the Ornette Coleman Atlantic recordings had received similar treatment....thought about asking the questions in the Blue Note thread but thought it was a bit off topic... remembered that there had been some discussion of various Ornette Atlantic reissues a few years back and decided to revive it there....

not saying you need too many rules.... but sometimes I have given up on a thread I found initially interesting because it had morphed into something else.... regretted it but stopped reading it and ultimately I probably missed out.

You must have studied some really bizarre math, because the comment from Steve that somewhat derailed the Miles Davis discussion happen in post #153. And 152 is not 20% of 209.

Edited by Scott Dolan
Posted

Back in the day I lived to derail threads......

IMO this turned into a viable discussion - sorry if interfered with the Mikes thread. Sometimes posts just happen for me and I don't think to post them closer to where they belong.

Peace and Blessings

Posted (edited)

He enjoys throwing grenades but I frequently agree with him.

About Hamid?

I saw / heard Hamid / Fred Anderson duets live which were transcendent IMO.

Sorry to derail again.

Edited by jlhoots
Posted (edited)

Walter Johnson

Granville "G.T." Hogan

Frank Butler

Hamid Drake is about at the same level, relatively, as Granville. Nothing to be ashamed of tho' Hogan made more good records in his time. Or is someone going to pretend Wm Parker is a "great" (even a "good") composer or that any of those Brotzmann Inane-tet records are worth a damn? Really? In a sound world of Mitchell, Braxton, Threadgill, Hemphill? (Bartok, Varese, Vila-Lobos, Messiaen?)

(I only wish there were film of Walter Johnson.)

Edited by MomsMobley
Posted

In a sound world of Mitchell, Braxton, Threadgill, Hemphill? (Bartok, Varese, Vila-Lobos, Messiaen?)

Trying to figure out why the names on the left are all of living people and those on the right are not. It seems an awkward comparison which begs all sorts of questions about designating as composers people whose music is very rarely performed outside their own direction. But. if you are being serious about absolute comparisons (the Brotzmann x-tets are just FUN groups) then - is there a Braxton composition that in your opinion matches in absolute compositional terms Pli Selon Pli or a Mitchell composition that equals ...explosante fixe... ? Not 'sound world', which as I think you know is a trivialisation of questions of formal composition and artistic purpose, but in absolute terms. Is there a piece by, say, Henry Threadgill, which you consider to have the same compositional novelty and accomplishment, and the same place in the history of music, as Schoenberg op. 9? Just a question, mind you, but one invited by the comparison to concert music. Which is Hemphill's 9th, so to speak - ?

Posted

In a sound world of Mitchell, Braxton, Threadgill, Hemphill? (Bartok, Varese, Vila-Lobos, Messiaen?)

Trying to figure out why the names on the left are all of living people and those on the right are not. It seems an awkward comparison which begs all sorts of questions about designating as composers people whose music is very rarely performed outside their own direction. But. if you are being serious about absolute comparisons (the Brotzmann x-tets are just FUN groups) then - is there a Braxton composition that in your opinion matches in absolute compositional terms Pli Selon Pli or a Mitchell composition that equals ...explosante fixe... ? Not 'sound world', which as I think you know is a trivialisation of questions of formal composition and artistic purpose, but in absolute terms. Is there a piece by, say, Henry Threadgill, which you consider to have the same compositional novelty and accomplishment, and the same place in the history of music, as Schoenberg op. 9? Just a question, mind you, but one invited by the comparison to concert music. Which is Hemphill's 9th, so to speak - ?

sorry to further derail this thread but whenever somebody brings up villa lobos the following quote comes to my mind

""Why is it that whenever I hear a piece of music I don't like, it's always by Villa Lobos?"--Igor Stravinsky

Posted

Hemingway's Toombow is on a par with anything

But again as a drummer he is nothing special

Well unless you've actually seen or heard him!!

or maybe Hemingway is just another run of the mill drummer and composer on the level of maybe Charli Persip or someone like that......

standing on a whale fishing for minnows......

Posted

Okay, what next? Han Bennink don't schwing?

Gerry Hemingway is an amazing musician and great drummer, of course ... and yeah, I guess I can subscribe Chuck's argument on Hamid Drake - seen him live a couple of times, lotsa good vibes and all, but ultimately he's doing his schtick in a very competent and fun way, and if the mood is right, it can indeed bring you places (he's really a reggae drummer, I guess ... not a genuine observation of mine btw, but a thought that had crossed my mind before I heard a much more competent Chicago mouth utter it).

But I wonder, where would Jack DeJohnette fit in? And Chick when he swapped places with Jack D? And is there a ghost track with Baby Dodds, Persip, Hemingway and Drake battling it out on the fourth disc of this upcoming set? And is there audio commentary by Moms to be added at will?

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