sonic1

I love McCoy Tyner. I consider him modal with hard bop sensibilities. At least on his own dates. The Real McCoy is a great album. It is a toss up between that album and Expansions. I lean more toward Expansions. I think he pushed a little harder on this date. I had this discussion before about the edgy hard bop that leans toward AG. I came to the conclusion that those artists are the height of hard bop. Regarding artists like Bobby Hutcherson, Booker Little, early Steve Lacy, Tony Williams, some Grachan Moncur III, Chick Corea (of the 60s), Booker Ervin, Andrew Hill and the like. But Tyner has the modal thing going on, which is not quite hard bop. So...put him wherever you want. Whenever you get into taxonomical designations you will always stumble upon many anomolies that don't fit nicely into groupings. It is ok...just put them wherever they fit best on your shelf! As said above, it is not so important. I mean, I think we have enough language about all this stuff to know what each other's talking about.

I'd like to see anyone who is as musically promiscuous as I am. I listen to almost everything. In jazz I listen to the whole damn thing. From new orleans, marching band music, joplin, stride piano, etc. to the most out avant-garde stuff out there. I really consider adventurous more than just listening to crazy chaotic music. Being adventurous means you will open yourself to listening to the artist and trying to understand the INTENT, instead of making judgments that the music is part of your world or not. ANd this is very much apart of my world view too. I really believe in the cagean idea of listening. So being adventurous to me means searching out music I have not heard and really listening to it. That can be anything, not just "out" avant-garde stuff. Especially for me, since my beginning in jazz was Anthony Braxton. The AG stuff was no challenge. The harder challenge was when I first got into swing, or early bop. I needed to understand it so I started listening a whole lot, even if some of it was boring. I wanted to get it. Then something snapped and I got it. I went through all the genres like that. I have some weak spots I admit. Mostly 70s fusion, and popular radio music irks me. And I have not really gotten into rap, though I have no real aversion to it. It just doesn't draw me since it seems to be more urban poetry than music. And modern country doesn't do a whole hellava lot for me. I have not given fusion a fair chance. That is the one genre of jazz that I need to check out a little more. Actually I only have a few soul jazz albums too, but I like that stuff. Just have not really worked on collecting a lot of it yet. My favorite adventures is checking out music that is not of any genre. The anomolies of music. The freaks of music. The stuff that is even hard to call music. The music we are calling EAI is my current darling. The biggest challenge for me is financial. Purchasing all this music is a lot of work and of course, a lot of money. And I don't have a lot of money. Maybe if I can learn to write a little better I could get into the critic gig? But shit, doesn't everyone want to do that? One big lesson I have learned: when someone says, oh that music all sounds the same. It is because they have not been listening. Any music you don't give time and attention to all sounds the same. People say that about every genre of music. So the next time you start to say, all that stuff sounds the same, remember that there is someone out there saying that about your beloved jazz or your beloved classical music. We know it is not all the same. It is the most valuable listening lesson I ever learned.

Now that's a absolutely terrible idea! Allenlowe I hate you. o

My friend Kenny threw that on the player a while back. As I remember it there was some great music, but nothing that really struck me. Not to be unoriginal but my favorite Dexter's are Go! and the black lion release Take the A train. Both Sides of Midnight is awesome (on Black Lion I believe)! I have More Power on prestige but it is just something I never return to. Not a bad album. There are just a lot more I would return to. Oh, Body and Soul is a great release. I am curious about the steeplechase releases. I have only lulluby for a monster. Good album. If anyone can say something about the steeplechase albums I am all ears. I want to check out the village vanguard album on columbia too. But that is a classic, no?

Of what I own these are my suggestions: LTD live at the Left bank The Pahtner! DG at Montreux and an early prestige and my fav. of these THE CHASE!

Those are great recordings. Snag it.

In Texas!!?? I'm impressed.

Again, I agree with that. And I have issues of Coda going back to the 60s. But many of the contributors to Coda are severely worried about the magazine, many deciding they are not going to contribute to the new magazine. I will wait and see but to be honest I think my subscription ran out this month. (BTW I had a lot of problems getting them to launch my subscrip. too) I don't want to keep my subscrip if the magazine is another jazziz or whatever.

Coda covered everything from very straight ahead jazz, to more obscure players. This was not a supply and demand issue. Like I said, it took me great effort to even find this magazine-basically someone who KNEW Bill smith gave me his email, and then Bill gave me Stuarts email, then I subscribed. I am not the only story like this. How can a magazine survive like that? It can be found on few stands across the nation. Yet even with all that lack of marketting, it still hung in there, purely out of reputation amongst music freaks. I think it could do just as well as The Wire or any other magazine of its ilk. But you have to at least have a way for people to find you. It's like having a sale without telling anyone. Who is going to show up? The content of Coda is exactly what kept it alive all this time for half a century. Pretty impressive for a magazine, especially one that had almost no promotion.

excellent. I know where I will be when I visit this summer again.

I am a long time fan of Coda, a canadian magazine devoted to jazz and improvised music. Here is the story on some gloomy changes going on at Coda. I have most copies going back into the late 60s (thanks to finding them in a used magazine bin at a bookstore for 10cents each)! I tried to find them again a few years ago, trying everything I could to find them (they have no internet presense and are not on any stands in Tucson), and gave them up for gone when Jamey Aebersold gave me Bill Smith's email, telling me that Coda was indeed still in print. Finally i found them after a lot of work. But now that I have been subscribed for a year I hear this story: From the Globe and Mail: IT'S HELLO KRALL, GOODBYE BLONK By JAMES ADAMS Saturday, February 5, 2005, Page R3 If the Canadian jazz scene were a chunk of real estate, it would occupy the size of two 49-cent postage stamps. Yet as if to illustrate Freud's notion of "the narcissism of small differences," this turf has been mightily contested over the decades, with all sorts of spats flaring up between and among musicians, critics, record labels, DJs, club owners and the like. Another one is looming over the expected changes this spring at Toronto-based Coda magazine, "the journal of jazz and improvised music." Coda has been around for 47 years, an astonishing feat for a Canadian periodical, the brainchild of a British expatriate named John Norris (who is 71 this year) who later pulled another Brit, Bill Smith (he's 66), into his orbit as, variously, art director, co-editor and co-publisher. These guys put out this labour of love until five or six years ago, when it was sold to Warwick Communications. Coda's worldwide readership in any given year has probably never exceeded 5,000, but it's been a devoted one, not least because the mag's focus has been relentlessly, almost charmingly, on the obscure and the cultish. In the Coda universe, guys and gals with names like Han Bennink, Peter Brotzmann, Famoudou Don Moye, Susie Ibarra and John Stetch are very big deals indeed. But not, it seems, for very much longer. Last fall, as total paid circulation slipped to about 2,000, Coda was put up for sale by Warwick, which resulted in the magazine's publisher, James Williamson, forming a partnership with Peter Black, a former Telemedia executive. Beginning with the May/June issue (No. 321), they, along with incoming editor--current sales manager Daryl Angier--and new art director Noel Fenn, will be taking Coda "in a more mainstream direciton to widen its appeal to a larger audience." This means, among many other things, a new logo, full colour throughout its glossy pages, shorter articles and stories "on acts that are a little more widely accessible." There already is talk of making the revamped bimonthly an insert in The Globe and Mail, a la Toro magazine, as well as a "stand-alone item in Starbucks stores." Another possibility is some sort of association with Jazz FM91, Toronto's jazz radio outlet. Interviewed earlier this week, Angier said he doesn't "want to get away from the avant-garde base entirely," but he's determined to "make it look more like a magazine than an academic journal." Meanwhile, some contributors already have heard that the new Coda team wants "an attractive female artist" on the cover of its re-launch issue. In other words, hello Diana Krall (or Sophie Millman, or Coral Egan, or Melissa Stylianou, or Carol Welsman), goodbye Keshavan Maslak, Paul Plimley and Jaap Blonk. One reader who's upset by the shift is Bill Smith. Contact at his home on B.C.'s Hornby Island, Smth said he's "disappointed" the new direction will "exclude the avant garde and the European music that [Norris and I] carefully nurtured over the years. I cannot really see the point of producing a magazine that does not have a specific focus and that will not expand the thinking of the readers."

Had to endure some yelling at when I went over my music budget this month, again. But Traci! It was a SALE! Finally we agreed to up my budget. I am a spoiled bitch. Course, it's money I made, but that is beside the point... For anyone who has yet to spend money on an Erstwhile, you really cannot go wrong. These are really good albums. I have yet to be disappointed.

huh? Whaaaat? Man I'm hungry.

Yeah I feel the same way. There was nothing new in that story. It is like a first introduction which for those of us who have enjoyed him a long time, is old news. I too would have liked to see him talk about specific music. He would be great on the invisible juke box. Or maybe some more elaboration on his operas.

Well I was hoping to hear that Paul showed a nipple. Coward!

That man has one of the sweetest voices in jazz. I love his early work too. Unmistakable voice.

Tony, if it is any consolation I never thought of myself as an electronic music person. If you were to tell me even just 5 years ago that I would be agog for this electro-acoustical music, and that my favorite musician would be a turntablist I would probably have committed suicide. I never liked "turntable" music, and I hate most fusion. The only electronics I really got into at all was Stockhausen et al, and some of what braxton. This stuff is far better than even that. And I can listen to Otomo Yoshihide play with his no-input turntable all day long now. I have changed. But also the music has changed. It is not just the gimmick of unusual sounds at play here. These people are very talented and are creating a new music language-little by little. That is what keeps me listening. Not to say that I don't go back to Cannonball Adderley once in a while. I still like jazz and the whole gamut of the genre. But I can't ignore this EAI stuff. It is just too interesting. Jared

The only thing that matters is whether or not you can play. Age, sex, race are all inconsequential. As I can see it age has made some artists lose their inspiration, while others have found inspiration with age. I don't think age makes much of a difference. The individuals response to age matters, but it is not predictable how each person will respond to age.

I have a history of listening to euro improv and I loved the tokyo stuff immediately. But I had some intro with onkyo and other japanese music. My friend is more of a straight up jazz guy. He is a real music freak. But he lacks much understanding about EFI. And no connection to japan either. My influence might be at play here. I did preface it pretty well. I got him into the europeans and I WILL get him into EAI.

I am glad to see this thread catch a little. As far as I am concerned, easing people into EAI is just wrong. I just played Good Morning Good Night for a friend who knows nothing about EAI and he really really dug it. He hardly has much experience with EFI.

I am a massage therapist at Miraval, Opera's favorite spa! I do a lot of treatments but mostly do Thai massage and deep tissue. That means I get to walk on people for a living! Jared

I will also check out the funny rat thread. But it would be nice to have our own EAI thread. I am waiting for my Filament Box set in the mail. I am a big fan of the Tokyo stuff. I agree it is very different from the europeans output, but I think even the europeans are quite different from one another. The japanese have onkyo as an influence, which might give them the more cold, noise sounding stuff. As far as musicians being rooted in jazz-as a tenor sax player, and being quite rooted in jazz (but also simultaneously rooted in punk rock/no wave as a kid as well as all kinds of other music) I think if you can make music, I don't care what kind of music history you have or not have. In fact maybe some of the more refreshing stuff from EAI is coming from people that don't necessarily have anything to do with what we all call the roots (jazz, blues, whatever). At least by my taste. But the tokyo stuff is not for everyone, that is for sure.

Kevin, there is a different group of people here. The friction on the JC has nothing to do necessarily with EAI-that is more friction of personalities. I don't see why not discuss this here if anyone is interested. I am not trying to bring up it's relavence to jazz or anything like that. I just want to see what people are listening to.

my favorites are: Otomo Yoshihide Sachiko M Toshi Nakamura Günter Müller Keith Rowe Christian Fennesz and labels: Improvised Music From Japan Erstwhile For 4 Ears BoxMedia BoxMedia was my first encounter with the genre, though I think Erstwhile sums it up better than anyone.

Forgive me if you all already have a thread of this nature. But I couldn't locate one with the search tools. How much interest is there here in this genre (forgive the moniker)? Jared