Gary

No!!! The English team has to play in order to win!!! This is what sport is all about: to win. I just think from what Eriksson's previous tactics in a similar situation have been , also taking into account the heat in Portugal as in the last world cup he might take it cautiously.

I think we may play for the required draw against Croatia , we were in a similar position in the group stages of the last World Cup when playing Nigeria in the last game & we played for the draw.

Thank heaven for dodgy back passes - thats 2 in 2 games !!

You were right Brownie. It was not too comlicated for the English. you must have watched an other game than I did then.... I agree, the English were having lots of problems with the Swiss, at least in the game I was watching... The 3 - 0 result was exaggerated. Then again it cannot it be all that bad if you play poorly & win 3-0. We can play alot better than that. Don't want to offend you, but I haven't seen any of that yet, not against the French and certainly not tonight. No offence taken , but I didnt think we did too badly against the French (not for 90 mins !!!!). I'm not suggesting we will the competition , not with our goalkeeper & Michael Owen's current form, but I think we are are much better team than tonights display. I do think what happened in the last 3 minutes against France added to the pressure on England tonight.

You were right Brownie. It was not too comlicated for the English. you must have watched an other game than I did then.... I agree, the English were having lots of problems with the Swiss, at least in the game I was watching... The 3 - 0 result was exaggerated. Then again it cannot it be all that bad if you play poorly & win 3-0. We can play alot better than that.

when I've had problems like this this site allways sorts it out http://forums.techguy.org/

From today's Guardian Trane spotting An hour-long documentary about John Coltrane and A Love Supreme: that beats MTV any day John L Walters Friday June 11, 2004 The Guardian 'I'm so happy," croons Billy Jenkins in his blues song Happy, "I don't need to watch no MTV." But you can hardly avoid it - a multitude of digital music video channels pour out ear'n'eye-candy for homes, shops, gyms, even accountants' reception areas. Meanwhile, the megastores are piled high with DVDs, enabling the well-heeled consumer to consume visual rock, pop, jazz, world music and electronica in the technological cocoon of their home cinema rigs. There's never any decent music on TV, after all. So Saint John Coltrane (BBC1, Wednesday, 10.35pm) in the Imagine arts series is cause for celebration: when did we last get an hour-long jazz documentary on a terrestrial TV channel? The programme focuses on tenor saxophonist Coltrane (1926-1967) and his most famous album, A Love Supreme, and includes interviews with pianist McCoy Tyner and recording engineer Rudy Van Gelder. Tantalisingly, the producers have located extracts from the French TV recordings of Coltrane's great quartet playing the four-part suite at the Antibes jazz festival in July 1965. It can't be easy making a mainstream British TV documentary about a cult musician: a big chunk of the audience will have little or no knowledge of "Trane", while a substantial (and vocal) minority will know a great deal - he touched people very deeply. In fact, the programme makes the obsessive nature of his appeal part of the subject matter: footage of the St John Coltrane African Orthodox Church in San Francisco; a Japanese fan making a pilgrimage to his "mecca", the Long Island home where Trane wrote A Love Supreme; the New York radio station that played Coltrane 24 hours a day for two weeks. There are some bizarre moments: Tory MP Kenneth Clarke at an exhibition of Francis Wolff photographs, describing Trane's "stream of consciousness"; Benny Golson recalling Coltrane's prodigious appetite for sweet potato pies; presenter Alan Yentob walking into the deli that now occupies the site of the Half Note club, "where John Coltrane more or less invented the avant-garde" (now that's a claim and a half), and holding up old prints to show where the bandstand used to be. Nevertheless, there's plenty of music, and some compelling footage of the man in action - even if it doesn't always match what's happening on the soundtrack. Many people will never have heard or seen anything like it before. And they'll want to hear more. I think I'll set the video & MD just in case.

I saw the advert last night!

I also enjoy those Roscoe Mitchell's more with each listening. Received this from FMP today - very powerfull ! Can't wait to get out of the office & give it a proper BLAST in the car.

You are quite right , but I think the Aphex twin catalogue is of very high standard & Drukqs is very good in its own right. The higher tempo numbers reach near melting point on this one! I really enjoy it . I remember the first time I heard selected ambient works volume 2 - theres a track on there which is just a constant humming noise - I considered saving my money & listening to the hoover instead.

I wont hold my breath for the sweepstake.

Hey you forgot to play your Albert Ayler CDs!

I ordered

I've just been having a look around the net for more info on this one & found this review , how's about this for first paragraph! by Steve Kulak (Sept 1999) The vibrator was invented in the 19th Century so that doctors could bring women to orgasm more quickly as part of a treatment for hysteria. Peter Brötzmann may have been invented to bring us closer to both. http://www.furious.com/perfect/peterbrotzmann.html

Ahem Notes From The Field: June 2004 A month blows by, almost all of it in Europe. The work started in Le Mans, France, at their jazz festival- two gigs, the first with the Vandermark 5, then a performance by a unique version of the Peter Brötzmann Chicago Tentet. Mats Gustafsson had a prior commitment to the Barry Guy New Orchestra, so Peter brought in Roland Ramanan to play trumpet as a sub. Because Mars Williams left the band in April, the group needed a last minute addition. With luck, we were able to bring Toshinori Kondo in for a return engagement. For the first time since it formed in 1997, the Tentet brass section was larger than the reeds! Despite limited rehearsal time which meant Roland and Toshinori had to nearly sight read the material, the band sounded excellent- particularly on the second gig, in Hasselt, Belgium: two sets to a packed and appreciative audience. The Tentet meets again in Chicago during November for a special concert utilizing the texts of Kenneth Patchen, performed by Mike Pearson- the first time the band will incorporate words with their material. During that week, the group (with Mats back in tow) will record the new additions to the book (“A Long Breath Long,” and “For Fred Hopkins” by Peter, and a piece of mine called, “Flames Like Water.”), plus the Patchen piece, entitled, “Be Music, Night.” Directly after the Hasselt concert, Paal Nilssen-Love and I flew to London, England to meet Nate McBride for the start of our FME tour. We met with the BBC who are filming a documentary on the state of contemporary jazz, with Branford Marsalis as host. The trio played two compositions from the new album, “Underground” (Okka Disk), for the film: “Kiosk” and “Lasko.” In addition both Paal and I were interviewed for this presentation which will be broadcast in England during the fall. Branford was very supportive of the band’s work, talking with us in depth and taking the time to catch our concert at the Vortex that night (best of luck to them at their new location!). FME continued to Barcelona for two concerts, another great opportunity to present the music for more than one night in the same city. As I’ve stated before, it’s my wish is to make multiple performances in one location the standard way of operating for the bands I work with. Having two chances to do so just this spring is a sign of the great potential for this method of performance. Throughout the tour, which also took us to Austria, Germany and Slovenia, the group played to fantastic audiences and worked on five new pieces (“Reset And Recall,” “Slip,” “Necessary?” “Sentence,” and “Boadas”) which we’ll record in conjunction with more new compositions during our tour in Scandinavia this fall. The only real disappointment on this trip was the fact that we didn’t have copies of “Underground” to sell while on the road, thanks to the assistance of Federal Express who delivered the new album late and then stranded it in Salzburg during the middle of the tour. On a brighter note, FME continued to develop its aesthetics on each concert, and there were many extraordinary moments during the series. For example, during our final concert in Cerkno, Slovenia the Gabriejel jazz festival was hit with a day of heavy rain while we played under a tent outdoors. It was cold enough on stage that Paal’s fingers were turning white. We decided to play without a PA and the audience responded with complete attention. During the composition, “Teatr,” Nate cued a pause in the course of an improvisation between the drums and baritone, and nothing was heard but a long arco bass chord and the rain coming down on the roof of the tent; for a moment everything stopped: quite beautiful and unexpected. So now, on to June. Primarily, the month is focused on the double bill tour of the Vandermark 5 and Atomic in North America. These concerts begin in Chicago at the Green Mill on the weekend of June 11th and 12th. The V5 are releasing a new album on Atavistic, “Elements Of Style/Exercises In Surprise,” in conjunction with the tour. Its first pressing will be a limited edition with a bonus cd, “Free Kings,” featuring the music of Roland Kirk. Eleven of his compositions were rearranged for the band and recorded during concerts in Chicago at the Empty Bottle and the Green Mill. The Scandinavian group, Atomic, will also have copies of their nearly impossible to find releases from the label Jazzland during this trip, so bring your cash and leave the concerts with a fist full of music. Due to increasing difficulties with the U.S. government and bringing musicians into the country, Atomic will unfortunately only be participating in the U.S. leg of the journey because crossing the American border more than once during the trip is too problematic a risk. So, after June 26th, the V5 continue alone up the East Coast and into Canada. Check the web site for tour updates, but here is the current schedule. Hope to see you there! Also connected to this tour is a special project instigated and coordinated by the visual artist, Dan Grzeca. In the past, when Dan has created tour posters there have been issues getting the materials posted at the venues in each city. With the help of Kurt Kellison of Atavistic, Dan has coordinated nearly two dozen artists around North America to create posters and hang them in their locations throughout the length of the trip. All of these works are going to be collected and put in a box like a suitcase entitled, “Flammable Materials.” In addition, a live recording of performances by the V5 and Atomic from their Green Mill concerts will be included in the box. Each artist and musician will get a copy of this boxed set of posters and music for their involvement in the project, but there will also be a limited set of about 150 copies of the box for sale through Atavistic for avid collectors. Check out their web site at http://atavistic.com for more details. In closing, I’d like to thank three writers for their informed and inspired interviews regarding the music with me during the last month: José Tapiz and Ferran Esteve from Spain, and Fred Jung from Los Angeles. The discussions with José and Ferran should be posted on the site in Spanish (José), Catalonian (Ferran) and English within the next couple of weeks. Fred’s interview was done for a feature article on the Vandermark 5 for the Los Angeles edition of “All About Jazz,” and it includes statements and ideas about the quintet from all the members of the group. The completed article should be published in June. So, until next time, keep listening!

more news from the supranet site June 1 2004 News Revenant Records - Albert Ayler Box Set With Albert Ayler, sometimes it's not the purely musical moments which raise the hairs on the back of the neck: the laugh at the end of 'Change Has Come' on Live in Greenwich Village, an involuntary explosion of pure joy; the reaction of the crowd to 'Ghosts' on the BluJazz bootleg of the first Fondation Maeght concert with that feeling of all sins being forgiven; and then there's that moment of magic at the end of the spoken introduction on My Name Is Albert Ayler when Ayler says “One day everything will be as it should be” and 'Bye, Bye Blackbird' fades in. Over the years that brief bit of autobiography has assumed much greater significance than was ever intended. It probably made sense to Ayler and the record's producers to include the spoken introduction since this was Ayler's debut album, but as far as I know no one else ever did it. In fact, one American release of 'My Name' dispensed with it altogether, probably because it didn't fit the image of the wild, free, iconoclastic jazzman that they were trying to promote - that quiet, courteous voice, telling the world that he also played golf in high school, did not really conform to the politics of the time and the marketing schemes adopted for the new black music. Ayler probably thought little of it back in 1963, there'd be plenty of opportunities to get his message across and let his voice be heard - plenty of interviews, radio and TV broadcasts, even a documentary film. But, everything seemed to vanish apart from that 1 minute 20 seconds of a young, hesitant but essentially optimistic Albert telling us that “one day everything will be as it should be”. So, it will be interesting to see how our perceptions of the spoken introduction on 'My Name' change when Revenant release their box set which includes 2 CDs of Ayler interviews. For any other artist the announcement that a 9 CD set contains only 7 CDs of music would be greeted with cries of foul (or "what a swizz" as we used to say), but not so with Ayler. So little documentary evidence remains of the man that it could be said that the two interview CDs are perhaps the most important of the lot, particularly to jazz historians. Not only do they contain two brief interviews from Denmark, one from 1964, the other from the European tour of '66, Revenant have also secured the complete Daniel Caux interview which was recently reprinted in The Wire. And to top it all there's an interview with a Japanese journalist, Kiyoshi Koyama, recorded at the Fondation Maeght in July 1970 which is almost an hour long. So, come October we're going to be hearing Albert Ayler speak again, and this time for a lot longer than 1 minute 20 seconds. *** Ayler’s Influence David Willems emailed the other day to ask if I could point him in the direction of other musicians who might be carrying on Ayler’s musical style, particularly that of the Live in Greenwich Village period. I had to confess my ignorance on the matter but I said I’d mention it on the message board (there is one on the site, although it doesn’t get much use - you’ll find it at the bottom of this page) and see if anyone else could help. I’ve told him about the Versions and Tributes pages on the site which should give him some idea of where to look, but if anyone knows of contemporary ‘Greenwich Village’ style Aylers out there, leave him a message on the board. *** http://www.ayler.supanet.com/html/what_s_new.html

Dont worry I'd be the last person in the world who would be in a position to be dissapointed. I do have the new KV disc , but I'm always interested in other opinions.

Can you provide a link to your review please? I think Bishop is the star of KV5. What do you think of the bonus Kirk disc?

Wow - I didn't see this coming - I'm relly shocked From BBC Chelsea sack Ranieri Chelsea have ended speculation about the future of manager Claudio Ranieri by confirming his dismissal. The Italian's successor should be named within days, and Porto's Jose Mourinho is almost certain to get the job. A Chelsea spokesperson said: "Claudio has done a first class job for the club and paved the way for future success. "We would like to wish Claudio all the best for the future. We are discussing the exact terms of his departure with him and his representatives." Ranieri had a contract until 2007 but had been tipped for the sack ever since Russian billionaire Roman Abramovich took control of the club last summer. He maintained the support of the fans as he guided Chelsea to second in the Premiership, but it was not enough. Ranieri was forced to endure constant questioning about his job last season. Arrivederci Claudio, all the very best for your future, you are a great man From Blues Brother Have your say on 606 Chelsea chief executive Peter Kenyon made a much-publicised, but ultimately futile attempt to bring England coach Sven-Goran Eriksson to Stamford Bridge. The attention then switched to Mourinho, overshadowing Ranieri's preparations for the Champions League semi-finals. Defeat by Monaco effectively ended his hopes of staying at the club, although Chelsea achieved their highest league position for 49 years - second in the Premiership. That meant they will not have to qualify for the Champions League next season. Ranieri admitted he had said goodbye to his players after the 1-0 win over Leeds at Stamford Bridge on the final day of the season. RANIERI'S CHELSEA RECORD 2000-01: 6th 2001-02: 6th, FA Cup r-up 2002-03: 4th 2003-04: 2nd Photos from his reign He had urged Abramovich to make a decision on his future then, saying: "I would like to finish my job here. "I started this job, the house isn't finished yet, only the foundations and the ground floor." Ranieri was appointed by former Chelsea chairman Ken Bates as Gianluca Vialli's successor in September 2000. The club finished sixth in the Premiership in his first two seasons, and lost to Arsenal in the FA Cup final in 2002. The Italian made light of Chelsea's financial problems to guide them back into the Champions League the following season. But his failure to win a trophy after spending more than £100m of Abramovich's money last summer proved his undoing. The 52-year-old former Valencia manager admitted recently that he would be keen to remain in the Premiership. "I hope to come back, I work very well in England. I love the passion and atmosphere and would like to continue my job here," said Ranieri.

well maybe its time I put CD2 in my player , it'll have to wait a few more minutes so I can finish listening to this again it gets better & better with every listen.

You’re one generous dude , good on you.

I'm going to have to get this Cd , I enjoy what I've heard of Ellery Eskelin & every time I've seen it mentioned it has a near it.

Thats exactly how i hear it. Nice one Chaney.