Guest Chaney Posted May 3, 2004 Report Share Posted May 3, 2004 Nice prices on nuscope recordings at indieJazz.com. MAN I want to order some music but I'm trying to be good and not. What did I order? Two sets of bed sheets from JC Penny and a 600 CD rack expansion kit from Boltz. Oh, and Matthew? I'd like the review of Rara Avis posted -- on my desk, so to speak -- and ready for my breakfast-time viewing... TOMORROW. Better brew a pot of coffee. Quote Link to comment Share on other sites More sharing options...
P.L.M Posted May 3, 2004 Report Share Posted May 3, 2004 (edited) P.L.M., if you don't stop this mockery of sacred, I will start praising Odean Pope in every post. I probably will in any case. In 1993 I was listening to death metal and Stravinsky's "Firebird" mostly. You're excuse for FIREBIRD and DEATH METAL doesn't count. But ODEAN POPE? That's a major "faute de goût" in my standard. I never succed to keep a record by or where the guy was feature. Big bright sound, certainly, but who lead him (and us) nowhere. Let's forget about that to go right to the right stuff. I've done my home work about some of the CADENCE & CIMP new batch that I receive. I'll start by recommended warmly PAUL MURPHY AT CBS: RED SNAPPER. Not so much for MURPHY himself - a decent drummer and, certainly, a man of taste, but not the most inventive I've heard from this era - but for the ELEVEN duets (on 19 pieces) he plays with the *GREAT* Jimmy Lyons on this one. This duets are short (from 1'32 to 4'47), incredibly intense, focus and, also, beautifully recorded. In fact, they work like a SUITE, much of it with some tiny differences (faster here, more articulate there.) Great stuff. The rest of the record is filling with Trios (usually piano, trumpet, drums), duets (without LYONS and, even, MURPHY like in REEDING ROOM who is a nice intercourse between the piano of MARY ANN DRISCOLL & the excellent bassoon of KAREN BORCA) and ONE drum solo whose lenght (the shortest tune of the entire session, 1'13) shows the humility of the nominal leader of the record. But the main interest of RED SNAPPER, as you have already understand, is these 11 LYONS/ MURPHY duets. If you like LYONS, it's one to have and a nice addition, after AYLER RECORDS' magnificent BOX SET, to the not so rich discography of JIMMY LYONS. Highly recommended like they say in the best review. The PAUL DUNMALL - PAUL ROGERS - KEVIN NORTON is as good as their previous CIMP, RYLICKOLUM: FOR YOUR PLEASURE what is quite normal as it has been recorded during the same session (19 May 03 for the first, 20 for the second.) So, if you didn't like the former, you can past your turn on GO FORTH DUCK. Personnally I'd liked very much RYLICKOLUM with his sensible interplay between the three musicians. The addition of KEVIN NORTON to the duet was a great idea. He is a drummer of great skill, intelligence and much delicacy (he plays remarkably with the difficult acoustic of the so-call SPIRIT ROOM) and he masters the vibes with lot of talent also. The quality of listenning between the three musicians is really impressive during all of this session. DUNMALL plays with lot of sensibility and balance in both record, never overblowing as he has been slam for and RODGERS is absolutely astonishing from start to finish with his A.I.L bass (a six strings bass + some "likeable" (?) strings) that he masters completely, now. He plays the instrument with the arco during most of both records, sounding much like cello. Even the (short) bagpipe's piece (a"border bagpipes", to be precise) than Dunmall plays in GO FOR DUCK is enjoyable with more folkish sound than usual. So, if you have none, get them both, if you have the first (and like it) GO FOR DUCK is from the same bag. - And Nate you should try one of these. It could change your take on DUNMALL, that you seems to so severly judge - okay HOUR GLASS was far to be the best record that DUNMALL has done, to say the least, but it's hard to dismisse the man on this one alone when he has done, IMO, some stunning masterpieces like GHOSTLY THOUGHTS or BEBOP STARBUST. For the moment, the only deceptive one is the KEVIN NORTON'S LIVING LANGUAGE: INTUITIVE STRUCTURE. Like I say, I like the drummer much. But this live session is absolutely borring from start to end althought NORTON has surrounded him with good to great musicians like LOUIE BELOGENIS, THOMAS ULRICH and JOHN LINDBERG. Simply said: nothing happens from the beginning to the end during this concert. Absolutely nothing. After few more listenning, JAMES FINN: OPENING GATES continues to grow on me. Not the most OUT record ever, but a great saxophonist to discover. Indeed, the one to get in priority (with the MURPHY as a close second.) Edited May 3, 2004 by P.L.M Quote Link to comment Share on other sites More sharing options...
J.A.W. Posted May 3, 2004 Report Share Posted May 3, 2004 (edited) I respectfully disagree re Paul Dunmall's Ghostly Thoughts. I hated it and sold it a while ago. Don't ask me why I hated it, I banned it from my memory; it's been a long time since I've heard it and don't want to listen to it ever again. Edited May 3, 2004 by J.A.W. Quote Link to comment Share on other sites More sharing options...
P.L.M Posted May 3, 2004 Report Share Posted May 3, 2004 I respectfully disagree re Paul Dunmall's Ghostly Thoughts. I hated it and sold it a while ago. Don't ask me why I hated it, I banned it from my memory; it's been a long time since I listened to it and don't wish to hear it ever again. To each his own. But I'm not the only one to praise him. For me, one of the *GREAT* record of impro music/ free jazz of the last decade. Quote Link to comment Share on other sites More sharing options...
J.A.W. Posted May 3, 2004 Report Share Posted May 3, 2004 But I'm not the only one to praise him. I'm sorry, but that doesn't convince me, and neither does it prove that it's a good album. Quote Link to comment Share on other sites More sharing options...
P.L.M Posted May 3, 2004 Report Share Posted May 3, 2004 (edited) What to say? You hate it, I love it. Two different takes. And, I'm not trying to convince you on that matter, I just say that, IMO, I consider it like a masterpiece. You're free to disagree but the fact that you don't like it doesn't prove either that it's a bad record. AMG hates it, PENGUIN loves it and I suppose the guy who bought it from you, likes it, also. Well, let hear from the others on the subject. Question of the day: Do you like or do you hate GHOSTLY THOUGHTS? We're waiting anxiously your answer(s). Edited May 3, 2004 by P.L.M Quote Link to comment Share on other sites More sharing options...
J.A.W. Posted May 3, 2004 Report Share Posted May 3, 2004 You're free to disagree but the fact that you don't like it doesn't prove either that it's a bad record. No, it doesn't, but I didn't say so; not being the only one who liked it was your argument, not mine. As for your "Question of the Day", you forgot a third possibility: people might feel indifferent about it Quote Link to comment Share on other sites More sharing options...
king ubu Posted May 3, 2004 Report Share Posted May 3, 2004 P.L.M., that disc with Lyons sounds great! I shall take its name on my growing list of discs to get somewhen... On the Ghostly topic: I don't have it, never heard it, but if someone has a spare copy ubu Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted May 3, 2004 Report Share Posted May 3, 2004 Question of the day: Do you like or do you hate GHOSTLY THOUGHTS? I'll listen to it today and will report my ghostly thoughts. Quote Link to comment Share on other sites More sharing options...
Guest Chaney Posted May 3, 2004 Report Share Posted May 3, 2004 Question of the day: Do you like or do you hate GHOSTLY THOUGHTS? I'll listen to it today and will report my ghostly thoughts. I'll do the same. ~~~~~~~~~~~~~~~~~~~~~ Interesting piece from One Final Note on electro acoustic improv. Quote Link to comment Share on other sites More sharing options...
J.A.W. Posted May 3, 2004 Report Share Posted May 3, 2004 Re Ghostly Thoughts, I think it was John Adams' guitar that put me off this CD. Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted May 3, 2004 Report Share Posted May 3, 2004 OK, Ghostly Thoughts... I quite liked the disc. Not masterpiece, IMO, but a good one. A pretty conventional record by all standards (and not particularly intense or noisy), and I am not sure where all the controversy comes from. Dunmall is very "jazzy" - probably too much for this setting. He has a nice sound here (raspy big tenor, mostly in the middle register - not too muich of altissimo squicking; and some baritone...), but his ideas are a bit banal here - standard early free jazz power licks (with bluesy feel - Shepp or something...). So for me Dunmall is the weakest part of the album. But the other two players are outstanding: Mark Sanders on drums is doing some amazing stuff - reminds me of Tony Williams a bit, and probably Roy Haynes even more - some airy but intense and very propulsive playing...very deverse and very attuned to other two players. Really a pleasure to listen to. Actually the disc starts with some very creative manipulations with hi-hat. Good man. I should get more of his stuff. And then there is Hans' hero John Adams on guitar, whose playing I probably enjoy the most here (or more correctly, his interplay with Sanders). Adams has a very attractive sound - "semi-acoustic", very clean and clear, with slight "stretching" (I don't know how you call this effect - when a note after being played slides a bit; it's used in blues rather often), but at the same time the sound is full - not some sort of ugly flat Metheny shit, but sound with volume. And this is good. Adams' techiques is superb (the guy can play really fast), and his imagination is impressive - he comes up with a lot of nice ideas and is pretty melodic (and even lyrical- as on the second piece) most of the time. I frankly can hardly imagine what can possibly irritate in his contribution here. Anyway, Adams and Sanders are very sympathetic to each other and create some intriguing counterpoint here. Actually, I would have probably preferred to listen to Adams/Sanders duo (and a bit of it happents at the beginnig of the last piece) - they sound more free than with Dunmall, who tends to drag them (and since both Sanders and Adams listen a lot, they follow Dunmall) into more predictable routine a bit. To sum up, if anybody knows of Sanders / Adams duo CD - let me know. And yeah, the only other Dunmall CD I have Master Musicians of Mu (Slam) - a duo with guitarist Philip Gibbs, is terific. Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted May 3, 2004 Report Share Posted May 3, 2004 Nice prices on nuscope recordings at indieJazz.com. On everything actually - I think most of the CDs at indiejazz cost $12 and shipping is very reasonable. I hope they will be increasing their selection. Get Fred Van Hove's "Passing Waves" (nuscope), btw. Quote Link to comment Share on other sites More sharing options...
J.A.W. Posted May 3, 2004 Report Share Posted May 3, 2004 Д.Д. I simply don't like the "guitar sound" in many free / improv discs, however different it may be (remember my rant about Stangl on Koglmann's l'Heure Bleue?) By the way, I didn't imply that Adams' playing wasn't good or anything like that, it's just that I don't like that sound... I fully and wholeheartedly agree with you on the Metheny sound. Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted May 3, 2004 Report Share Posted May 3, 2004 I simply don't like the "guitar sound" in many free / improv discs, however different it may be... How about Derek Bailey? Quote Link to comment Share on other sites More sharing options...
J.A.W. Posted May 3, 2004 Report Share Posted May 3, 2004 I simply don't like the "guitar sound" in many free / improv discs, however different it may be... How about Derek Bailey? Awful... Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted May 3, 2004 Report Share Posted May 3, 2004 I simply don't like the "guitar sound" in many free / improv discs, however different it may be... How about Derek Bailey? Awful... Shit. Elliott Sharp? Quote Link to comment Share on other sites More sharing options...
J.A.W. Posted May 3, 2004 Report Share Posted May 3, 2004 The only guitarists I like in jazz (though in small doses) are guys like Tal Farlow, Jimmy Raney, Sal Salvador, René Thomas, and Kenny Burrell. Quote Link to comment Share on other sites More sharing options...
J.A.W. Posted May 3, 2004 Report Share Posted May 3, 2004 I simply don't like the "guitar sound" in many free / improv discs, however different it may be... How about Derek Bailey? Awful... Shit. Elliott Sharp? Nope. Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted May 3, 2004 Report Share Posted May 3, 2004 (edited) Jerry Hahn! Come on Hans, I am trying really hard. Edited May 3, 2004 by Д.Д. Quote Link to comment Share on other sites More sharing options...
king ubu Posted May 3, 2004 Report Share Posted May 3, 2004 Gerry Hahn! Come on Hans, I am trying really hard. Joe Puma, Jimmy Gourley, Laurindo Almeida? Quote Link to comment Share on other sites More sharing options...
J.A.W. Posted May 3, 2004 Report Share Posted May 3, 2004 Gerry Hahn! Come on Hans, I am trying really hard. OK, I like Jerry Hahn's sound a little better, though I don't like his Arhoolie CD, which is the only one I've heard. You'd better stop wasting your energy, Д.Д. (I appreciate the effort, though) I'm not really a jazz guitar fan, except for the few names I mentioned above. Quote Link to comment Share on other sites More sharing options...
gnhrtg Posted May 3, 2004 Report Share Posted May 3, 2004 I play guitar and even I don't like guitarists in a free-jazz setting. To be sure, there are many guitarists I enjoy hearing in a relatively more straight-ahead/conventional context - still I'd put very few of them on the same level as my favorite reed/brass/ivory-men. Quote Link to comment Share on other sites More sharing options...
J.A.W. Posted May 3, 2004 Report Share Posted May 3, 2004 I play guitar and even I don't like guitarists in a free-jazz setting. To be sure, there are many guitarists I enjoy hearing in a relatively more straight-ahead/conventional context - still I'd put very few of them on the same level as my favorite reed/brass/ivory-men. Ah, good to hear Gokhan, I'm feeling a bit less lonely here now... Quote Link to comment Share on other sites More sharing options...
Guest Chaney Posted May 3, 2004 Report Share Posted May 3, 2004 How would it be if these free jazz guitar noodlings weren't performed on electric guitar but instead on acoustic guitar? Maybe it's just the powered end that offends, much like electric bass as opposed to acoustic? Quote Link to comment Share on other sites More sharing options...
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