Gary

Thanks for the link -I could't resist this one & I placed an pre-order.

Good luck & WELCOME!

Whoooaaa!!!! Is that Sellafield hiding in the back of his car? It's amazing what you can do with MDF and scaffie poles.

Can there possibly be a better version of 'Walkin' than the one on this CD?

One for Tony. http://tanetane92.web.infoseek.co.jp/20050116tas2.html What is this all about????

I read somewhere recently that it wasn't issued for a couple of years, is this correct? If so was it because the innovative nature of the recording or normal record company business reasons?

Started a bit early just to forewarn people. After John S asked me to pick an AOTW i've been racking my brains over what to chose so I've gone for this one simply because I love it.

http://books.guardian.co.uk/departments/ge...1454512,00.html The work of Saul Bellow rejected the constraints of modernism and helped define the 20th century. Ian McEwan pays tribute to a novelist who set a generation of writers free Thursday April 7, 2005 The Guardian When a great writer dies - an unusual event, for this is a rare breed - we pay our respects by a visit to our bookshelves, library or bookshop; mourning and celebration merge honourably. It will be some time before we have the full measure of Saul Bellow's achievement, and there is no reason why we should not start with a small thing, a phrase or sentence that has become part of our mental furniture, and a part of life's pleasures. After all, good readers, Nabokov advised his students, "should notice and fondle details". Bellow lovers often evoke a certain dog, barking forlornly in Bucharest during the long night of the Soviet domination of Romania. It is overheard by an American visitor, Dean Corde, the typically dreamy Bellovian hero of The Dean's December, who imagines these sounds as a protest against the narrowness of canine understanding, and a plea: "For God's sake, open the universe a little more!" We approve of that observation because we are, in a sense, that dog, and Saul Bellow, our Master, heard us and obliged. In fact, the very freedom that Henry James claimed for the novelist in his essay The Art of Fiction ("all life belongs to you") was generously embraced by Bellow; he set himself, and succeeding generations, free of the formal trappings of modernism, which by the mid-20th century had begun to seem a heavy constraint. He had no time for Virginia Woolf's assertion that in the modern novel character is dead.Bellow's world is as densely populated as Dickens's, but its citizens are neither caricatures nor grotesques. They sit in memory like people you could convince yourself you have met: the hopeless racketeer Lustgarten ("partly subtle, partly ill") in Mosby's Memoirs, who brings financial ruin to his family by importing a Cadillac into postwar France; the excitable low-lifer, Cantabile, waving a gun in Humboldt's Gift - in his agitation he suddenly needs a shit, and forces his victim, Charlie Citrine ("a man of culture or intellectual attainments") into the stall with him. Citrine distracts himself with reflections on ape behaviour while Cantabile "crouched there with his hardened dagger brows". And most vivid of all, for me at least, Moses Herzog, Bellow's most achieved dreamer, the least practical of men in an America of vigorous, material pursuits. In Herzog Bellow brought to perfection the art of fictional digression. When the hero goes to visit his lover, the lovely Ramona, he waits on the bed while she goes off to change into what Martin Amis would call her "brothel wear". In those moments Herzog reflects on the way the entire world presses in on him, and Bellow seems to set out a kind of manifesto, a ringing checklist of the challenges the novelist must confront, or the reality he must contain or describe. It also serves as a reader's guide to the raw material of Bellow's work. I came to know this passage by heart through re-reading, and borrowed it for the epigraph of a novel. It was a risk, because the pulse of this prose was likely to make my own sound puny. "Well, for instance, what it means to be a man. In a city. In a century. In transition. In a mass. Transformed by science. Under organised power. Subject to tremendous controls. In a condition caused by mechanisation. After the late failure of radical hopes. In a society that was no community and devalued the person. Owing to the multiplied power of numbers which made the self negligible. Which spent military billions against foreign enemies but would not pay for order at home. Which permitted savagery and barbarism in its own great cities. At the same time, the pressure of human millions who have discovered what concerted efforts and thoughts can do. As megatons of water shape organisms on the ocean floor. As tides polish stones. As winds hollow cliffs ... " Bellow's city, of course, was Chicago, as vital to him, and as beautifully, teemingly evoked, as Joyce's Dublin; the novels are not simply set in the 20th century, they are about that century - its awesome transformations, its savagery, its new machines, the great battles of its thought systems, the resounding failure of totalitarian systems, the mixed blessings of the American way. These elements are not dealt with in abstract, but sifted through the vagaries of character, of an individual trying to figure where he stands in relation to the mass of which he is a part. And always, the past is pressing in, memories of childhood, the crowded streets and tenements, shared rooms, overbearing and eccentric relatives and neighbours - the immigrant poor, attending to the call to American identity. The American critic Lee Siegel wrote recently that every British writer with an intellectual or emotional connection to America wants to lay claim to Bellow. "He is their Plymouth Rock, or maybe their Rhodesia ... " There is some truth to this. What is it we find in him that we cannot find here, among our own? I think what we admire is the generous inclusiveness of the work - not since the 19th century has a writer been able to render a whole society, without condescension or self-conscious social anthropology. Seamlessly, Bellow can move between the poor and their mean streets, and the power elites of university and government, the privileged dreamer with the "deep-sea thought". His work is the embodiment of an American vision of plurality. In Britain we no longer seem able to write across the crass and subtle distortions of class - or rather, we can't do it gracefully, without seeming to strain or without caricature. Bellow appears larger, therefore, than any British writer can hope to be. Another reason: in a literary culture that has generally favoured the whole scheme of a novel against the finely crafted sentence, we honour the musicality, the wit, the lovely beat of a good Bellovian line. An example, rightly favoured by the critic James Wood, is the description of Behrens, the florist in the story Something to Remember Me By: "Amid the flowers, he alone had no colour - something like the price he paid for being human." Another example, of special significance to me because I paid tribute to Bellow by making a variation on it: in Herzog, we read of Gersbach with his wooden leg, "bending and straightening gracefully like a gondolier". It is not surprising then that some of the best celebrations of Bellow's writing have originated in Britain. Certain essays may already be on your shelves, and in this time of taking stock, it might be enlivening to reach for them. One is Martin Amis's magnificent advocacy of The Adventures of Augie March as the definitive Great American Novel in the introduction to the Everyman edition; another is the James Wood introduction to the Penguin Collected Stories, in which joy is a central element in his response to the work. Writers we admire and re-read are absorbed into the fine print of our consciousness, into the white noise of our thoughts, and in this sense, they can never die. Saul Bellow started publishing in the 40s, and his work spreads across the century he helped to define. He also re-defined the novel, broadened it, liberated it, made it warm with human sense and wit and grand purpose. Henry James once proposed an obvious but helpful truth: "The deepest quality of a work of art will always be the quality of the mind of the producer." We are saying farewell to a mind of unrivalled quality. He opened our universe a little more. We owe him everything

I attended that performance in Newport '63, but didn't see Solal again until he performed with Lee Konitz in Santa Cruz in late '70s. His recent NYC album with Bill Stewart is a must-have. I couldn't agree more, all three musicians are magnificent on this disc.

Mar 30, 1995 Lee Konitz/Don Friedman/Attila Zoller Thingin'

Mutable

Another solo set worth mentioning 3 outstanding CDs.

I ordered today Gradually Projection Masayuki Takayanagi & Kaoru Abe (thanks to the 'For Alto' thread)

If you've become inspired to explore solo sax records, here are some other masters (and masterpieces) of the genre: Joe McPhee (Tenor, 1976, Hat Hut, reissued on hatOLOGY) Peter Brötzmann (14 Love Poems, 1984, FMP) I especially enjoy the Joe Mcphee & Peter Brotzmann tiltles, another good solo Joe Mcphee is 'As Serious as Your LIfe'hatOLOGY.

Kaoru Abe souunds interesting to me , AMGs bio starts Chaney let me know what you find please?

Can I have that one please? pm your address, please. Going abroad, right? I'll mail it sans jewelcase. I'll send it on Saturday when I have time to go to the post office and complete the custom's form. What should I put for "value," $80? Grass Roots arrived in the post today & is a very welcomed new member of my collection. Thanks very much Paul, Gary

http://www.worldschoolphotographs.com/ How do they do it ? Amazing!

My favourite joke seems to be doing the rounds on Email at the moment , so as someone's already gone to the trouble of typing it out I thought it would be rude not to share it........... An ugly bloke walks into his local pub with a big grin on his face. "What are you so happy about?" asks the barman. "Well I'll tell you," replies the bloke, "You know I live by the railway, well on my way home last night I noticed a young woman tied to the tracks, like in the movies. "Well, I went and cut her free and took her back to my place. "Anyway, to cut a long story short, I scored with her, big time! We made love all night, all over the house. We did everything, me on top, sometimes her on top!" "Fantastic!" exclaimed the barman, "you lucky sod! Was she pretty?" "I dunno, I never found her head."

I shall get Ayler's - New Grass if it comes out . I'm sure it was supposed to be reissued last year.

http://www.organissimo.org/forum/index.php...ic=16624&hl=rvg Here it is.

and the Zappa story... And the Ascension story.

Happy Birthday

http://www.bbc.co.uk/radio/aod/genres/jazz...io3/jazzlegends Nearly 40 years after wiping a live concert tape of Albert as unbroadcastable the BBC are broadcasting an hour long show celebrating his music in the middle of a Friday afternoon whowouldathunkit? Brodcast today (the link should work for 7 days) Julian Joseph in conversation with author James Wylie about one of the giants of free jazz, Albert Ayler. Nicknamed Little Bird due to his early similar tone to Charlie Parker, Ayler started on the R&B circuit and later moved on to collaborate with multi instrumentalist Don Cherry. Ayler's compositions take in Irish Jigs and Marches, and Coltrane's music most definitely takes on Albert Ayler overtones. Duration: 1 hour Playlist 1. Title: TUNE UP Artist: ALBERT AYLER Composer: Miles Davis Publisher: Copyright Control Album: The First Recordings Label: Sonet Number: SNTF 604 2. Title: ROLLINS' TUNE Artist: ALBERT AYLER Composer: Sonny Rollins Publisher: Copyright Control Album: The First Recordings Label: Sonet Catalogue Number: SNTF 604 3. Title: HOLY HOLY Artist: ALBERT AYLER Composer: Albert Ayler Publisher: Art Music Album: Witches and Devils Label: Polydor/Freedom Catalogue Number: 2383 089 4. Title: GHOSTS: FIRST VARIATION Artist: ALBERT AYLER TRIO Composer: Albert Ayler Publisher: Mecolico Album: Spiritual Unity Label: Fontana Catalogue Number: SFJL 933 5. Title: ANGELS Artist: ALBERT AYLER Composer: Albert Ayler Album: Spirits Rejoice Label: ESP Number: 1020 6. Title: OUR PRAYER Artist: ALBERT AYLER QUINTET Composer: Donald Ayler Publisher: Mention Music BMI Album: Live at Slugs Saloon 1966 Label: Base Records Number: ESP 3031 7. Title: HEART LOVE Artist: ALBERT AYLER with THE SOUL SINGERS Composer: Ayler/Parks Publisher: Mecolico/NCB Album: New Grass Label: Impulse Number: SIPL 519 8. Title: DRUDGERY Artist: ALBERT AYLER Composer: Albert Ayler Album: Music Is The Healing Force Of The Universe Label: Impulse Number: AS 9191

1967 Dimensions and Extensions -Sam Rivers (Blue Note)

2001 Jason Moran - Black Stars 1966 Dusk Fire -The Don Rendell / Ian Carr Quintet