MomsMobley

speaking of Frisell live, this is quite possibly thee lamest shit "imaginable," beyond the pale on all levels not least of which is the pedal steel rape (Jimmy Day and Ralph Mooney weep in hell), but boy, they sho' is smiley, and such tasty licks too! Mmmmmmm... Mmmmmm!! (I heard about it on NPR, you?) http://www.youtube.com/watch?v=r9a87Q3w7Ds Once upon a time, in a world far far away, Ronald Shannon Jackon, Melvin Gibbs & ... (I thought there were longer clips out there but the above will suffice.) I want to publicly retract every salty thing I ever said about Pat Metheny, btw. Pat (& co.) may sometimes be tacky, but they've never been as gutless, insipid or self-satisfied as the worst Frisell, of which there's lately been plenty. The Big Sur album noted above is beyond awful; Frisell, is a plainly horrible composer without a concept/leader to kick his ass into some semblance of gear. "Americana" (sic) drinks and goes home, wishes it was only a fucking nightmare.

the shampoo in the handy unbreakable tube? episode-for-episode,the greatest sitcom in history... and at its frequent best, exhibiting a collective brilliance unexcelled anywhere, anytime.

http://www.studentaffairs.columbia.edu/wkcr/story/wkcr-revisits-chicago-comes-new-york-aacm-17 In May of 1977, members of the Association for the Advancement of Creative Musicians (AACM) collaborated with students at WKCR to present "Chicago Comes to New York," a four-day music festival at Columbia University's Wollman Auditorium. Join us starting midnight on January 7, 2014 as we revisit this momentous event with a 24-hour marathon broadcast featuring music and interviews by the AACM. Thirty members of the AACM came to New York with their families and friends for the festival, many for the first time. The festival also included an on-air component in the form of a ninety-hour broadcast of music and interviews with AACM artists. Over the last year, two recent WKCR alums restored and digitized the entire collection of reel-to-reel tapes from the festival, hearing the music for the first time since it was recorded.

Black Europe blows away most Mosaic sets; two totally different worlds, of course, but laudable as Mosaic is, how many of their booklets are that revelatory? Some are excellent, some adequate but most are just 'nice.' As Big Beat Steve noted, the books alone here would be big $$$ if published by some art or academic press (the only two options, it seems). The material of borderline interest here would seen to be x # of discs of tribal/native recordings but I do think it's better to include them than not. http://black-europe.com I enquired about ordering the set direct from Bear Family btw but though they're doing a 499 Euro shipping included special now, they do NOT take off the VAT so it's still big $$$. JPC.de on the other hand has it for 539 Euro but they do take of the VAT so that's an option for Americans; JPC sometimes has coupons too.... ImportCDs has it at $852, which I definitely can't afford even after selling this/that, tho' I'd definitely swap, say, the three Commodore boxes or Miles Blackhawk + Coltrane vinyl, if I had still 'em. (Or Nat King Cole + Wayne Shorter/Lee Morgan + whatever the 3rd priciest Mosaic CD set is.) As for Bear going all or nothing on this, I don't know what the alternative is, other than maybe an e-book down the line? I highly doubt Richard Weize is making money off this so...

Carptenter 'produced,' Mundy arranged Sonny Stitt for Solid State 1968 not as quite as weird as it perhaps could be but not entirely normal either. Band is an octet: Sonny on varitone + piano, drums, electric bass, electric guitar, baritone sax, french horns (two credited but I don't think they play at same time). Richard Carpenter is credited co-writer on two tunes with "G. Bruce," co-writer with with Sonny + "G. Ginsberg" on a third. W.C. Handy, Andy Razaf, Bacharach-David, Bobby Russell are not cowed.

no no I'm defense counsel!!! even here, under somewhat dubious circumstances, Stitt's tone and rhythmic facility merit attention and praise. I've had it with horn players of all persuasions-- straight and erstwhile 'avant'-- who play slurry not as a considered choice but because they don't have the ability to do otherwise. (Compare Ornette to his epigone Jemeel Moondoc; compare Stitt on any horn to-- hah hah-- Ken Vandermark or Branford etc.) All Stitt is very good Stitt and more than enough is much better than that. Just cuz certain yokels-- not thinking of anyone in particular, rather the general condescension towards Stitt-- couldn't keep up, that shouldn't be our problem, nor should we accept less esp. when there aren't any better ideas attached to the erstwhile 'alternatives'-- http://www.youtube.com/watch?v=SC_Ulakhdv0

http://www.youtube.com/watch?v=Py28W34TJUc

In the intro to the Kalaparusha memorial yesterday, Phil Schaap talked briefly about seeing him playing on the street often, in the Village (near Christopher St?) in years past and in Columbus Circle more recently. The final time he saw K. there he was playing-- get this-- (& hope I'm remembering this right) the old Billy Reid tune "The Gypsy," which we all know from Bird, Pops, et al. Because Phil recognized the tune, he said he began singing it sotto voce which Kalaparusha noticed & asked him to step up so they could do perform together. Now, Schaap has his 'issues' (much exaggerated by his detractors) but pride in his own musical ability is absolutely NOT one of them so he said he politely declined, put some $$$ in the tin to encourage others & that's it.

Thanks, Jazzbo. Definitely too bad; was hoping they perhaps held onto unsold small label titles in the background rather than having dumped them wherever... who'd even be interested? Maybe ImportCds I guess.

Anyone know the final status on Worlds? Their internet storefront is indeed closed-- http://worldsrecords.com YET-- let's say someone wants to buy some CDs on The Old Masters label-- http://www.worldsrecords.com/cgi-bin/storeR.cgi?cart_id=11-06-13.26437&phrase=old+masters&specific=general&format=any&search_type=and&submit=Search They can still get in, add to cart, and, apparently, complete an order. No big deal but it's curious/interesting the site wasn't taken entirely down.

http://Xshellackophile.blogspot.coX/2010/10/janaceks-confidential-letters_25.html (links working, I think) Janacek discography, as of 1978-- http://books.google.com/books?ei=g55UUuEEw8bRBcuAgTA&id=1bo4AQAAIAAJ&dq=janacek+ultraphon&q=discography#search_anchor Ultraphon G 12889/91 http://www.youtube.com/watch?v=PlNugjlcNLA in short, I'm unaware of a collection of early recordings of Janacek or my great current enthusiasm Bohuslav Martinu (I've dug him twenty years but am way more into the entirety of his work); 78 era classical is kind of perilous too; certain things have been reissued many many many times, others not at all... What I'd do is get that discography (I can't find anything similar online) & start looking for label/catalog #s & see what pops up... There is cottage industry of private classical transfers but I've not had to go that route myself yet. GOOD LUCK!!

forced to choose one...

Excellent piece, Nikantu! Glad to see Matthew admit folks' problems with David S. Ware; though "Flight of I" was bracing at the time, the rest of the Ware's discography comprises maybe one hot cd-length compilation... two is stretching it because Ware is such a blowhard drag. Telling also he could be such a douche (my word) to his drummers; maybe he should have taken a good bit of that attitude/"energy" and put it towards developing as a COMPOSER? Nahhhhhhh, better to fulminate, hold back your sidemen, hassle your drummers and look "spiritual." Dashiki-run-run da-do run run! And while David S. Ware certainly wasn't the worst ersatz "star" of the "free" shuck, he's certainly among the most dreary and the one with most irritating fans, like ooooh, if you don't bow at Ware's altar you're refuting 500 years of Afro-diasporic huzzahs, handjobs and hambone. And please, spare us all the banal Sonny Rollins references... I'd rather listen a box of nothing but Cliifton Anderson trombone solos than pretend David S. Ware "speaks" to me in a way that elicits a reaction more benign than STFU already! Roscoe Mitchell = genius musician, composer, conceptualist; also a damn snappy dresser. "East Coast energy music" = mostly bullshit, not to imply the German/Dutch/English (hah hah) versions are significantly better. "Live At The East" >>>>>> the rest of "East Coast energy music" combined Nikantu endorses none of these opinions! (Except maybe about Roscoe.) For one of the Matthew's greatest collaborators, Allen Lowe-- For syncopationists!

in case anyone hasn't seen this yet--

Debussy piano works requires virtuosity of fingers and mind; VERY few musicians have both. In 2013, the best recordings en masse to date are those of * Jean-Efflam Bavouzet * Pascal Roge * Zoltan Kocsis Ya'll might enjoy x # of recordings to one degree or another but they're 3/4 measures at best and FACT all records with ANY Kuijkens are dull dull dull... a cpl or three Telemann chamber pieces aside. This is said from painful experience and if you've recorded as much that family and never been the best or even near so in ANYTHING... it's absurd. Alain Planes on record is a dud-- maybe better live??-- "sober" indeed, which is one reason his Haydn was a botch and his Schubert was no good either. Crossley is merely OK but if you have access to decent used CDs, Cecile Ousset is a great Debussian-- Marcel Meyer is worthy, likewise Alfred Cortot. (skip the Geiseking hype.)

Andy Bey = great man, great artist. Being interviewed on WKCR now, amazing stories and insights into the music, fellow Newark hero Sarah V. included. Hope Andy writes or tells his autobiography eventually too.

http://www.youtube.com/watch?v=NwGkDGST1IE

And not just orchestral: Martini is one of the absolutely top flight 20th c. composers, vastly underrated-- perhaps because those names peg him as neo-classial Stravinsky's kissin' cousin-- and though someone claimed otherwise, Martinu's six symphonies rank among the 20th century's very best cycles (which I count as four or more), which are... Nielsen... Sibelius... and maybe Martinu right there? then Roussel... with Bax, Vaughan Williams, Prokofiev, Wm Schuman, Pendercki, Lutoslawski, Petterson, Rautaavara, Piston, Roy Harris, Franz Schmidt, Havergal Brian, Sessions, etc following... though I'd rank none of them above Martinu... and NO I'm not forgetting Shostakovich, let's stop pretending there are more than two handfuls of great movements in the fifteen, thanks. (Phillip Glass symphonies are horrible, even the Allen Ginsberg one, nobody should pretend otherwise). I'll confess to not having lotsa of the later Henry Cowell symphonie and I'm through thinking about Milhaud and Schnittke both. Malcolm Arnold too? Except when I re-watch "Hobson's Choice" or "Bridge on the River Kwai," I'm afraid so, lad, I'm afraid so. A great great realm for further exploration btw are Martinu's stage works, both ballet and opera, wherein for quality/weirdness he ranks with Prokofiev and peak Hindemith while being generally more fun and colorful than both. The string 4-tets are very good but except for the 5th, they are more signposts of his career than major statements. more to follow

x 1000! And Chuck, I've been meaning to post this and now's the time. Three podcasts with Don Kent, you won't be disappointed; besides the great music and related historical lore, there are some excellent Chicago, JRM, Bob Koester stories too (I'd not known before Bob went to March on Washington). Also one about Big Joe Williams' dick (really) and talk of how there were plans for Little Walter ** guitar ** album before his passing (which I reckon you already knew). There's some other stuff about 1960s Chicago clubs I'm forgetting but Larry, John and yourself will know. Host is John Heneghan of East River String Band-- http://www.eastriverstringband.com/radioshow/?p=455 http://www.eastriverstringband.com/radioshow/?p=498 http://www.eastriverstringband.com/radioshow/?p=526

MG-- best/least known body of 20th c. French chamber music is that of Albert Roussel; three CD set on Brilliant (originally on Timpani, I believe?) get you nearly everything-- www.amazon.com/gp/product/B000KEHMHU/ He's not French of course but don't be afraid to check out Czech exile, Bohuslav Martinu, in whom a # of French currents run strong. String quartet cycle is a fine place to start; the oboe quartet too-- I kinda burned out on the French baroque but Blandine Rannou's Rameau concerts still ranks, as does Celine Frisch solo-- http://www.amazon.co.uk/Rameau-Pieces-Clavecin-Celine-Frisch/dp/B001EVPBXU

bravo, mjzee... one thing tho' is that photo of Redd is anachronistic for the Dootone set... how about this Redd instead? also, don't forget Redd's Dootoon label mate, Scatman Crothers.

Mo' Joe!! I seem to have forgotten how to embed videos myself (really) so thanks for that. I'll spin Hampton Hawes "The Sermon" now in everyone's honor, Leon Thomas' too.

worst thing you can say about Matthew is his taste in hip-hop/electronic music producers was rather questionable. Yet he also made David S. Ware more listenable than he in fact was so... Hell, Matthew almost makes Joe Morris seem interesting, which he assuredly is not. Iverson, of course, is a witless, if not entirely useless interlocutor. And did ya'll see he admitted-- honesty points, OK-- he was unfamiliar with the great Joe Sample? are you kidding me? No wonder Iverson's music is so po' faced, corny and self-satisfied with its own banal limitations. Joe's had some lesser moments as a commercial artist but I'd take any of 'em over Jarrett's dogshit classical efforts AND every horrible (low) "standards trio" release. (Life's too short to even pretend to listen to Ethan iverson again.) DeJohnette gets a pass for reasons that should be obvious but 1) Jarrett makes generally excellent tune less interesting to the point of unlistenability and 2) Gary Peacock is just as bad-- whatever few inspired moments he had in the 1960s are long subsumed in subsequent decades of utter crap. I used to tolerate the argument that Jarrett at least subsidized x # of more interesting ECM records but since Andras Schiff is just as boring there as he nearly always was on Decca and Teldec, who can care? As for Hampton Hawes, Raise Up Off Me alone >>>>>> Jarrett's fucking career, American Quartet included. JAZZ CRUSADERS "Soul Caravan" http://www.youtube.com/watch?v=Wg3_fx-AAKo RICHARD PRYOR "Deer Hunting" http://www.youtube.com/watch?v=FvOwF54M0Y8