CraigP

I'm listening to it for the first time myself, encouraged so far...

I listened to it last night. It's very sparse and introspective overall, going to take some concentrated listening... I preferred Koan to Oblique so that whets my appetite to hear it's sparse His concert drumming has been anything but sparse lately, seeming to follow an entirely different trajectory. But it was the sparse, minimalist music that Tyshawn mostly made himself known to the listening public. I would be most interested to see Tyshawn play piano in concert. There is a section where he goes into what sounds like a hip-hop influenced rhythm, but overall it is more sparse and moody. It's only been one listen, but I like it better so far than Oblique, which to me was very M-Base-y but somewhat bland.

I listened to it last night. It's very sparse and introspective overall, going to take some concentrated listening... And I almost forgot a recent Matthew Shipp performance that I like a lot, with the Core Trio: https://thecoretrio.bandcamp.com/album/the-core-trio-with-matthew-shipp

xybert, Broken Partials, with Shipp and Joe Morris on bass, is a winner.

Kevin (or anyone else), how is the Akiyoshi/Tabackin set?

Every time I read about a pop/rock musician from the 60's/70's, I always wonder if they ever made any money from their endeavors. Seems like it was a crapshoot, some did and some didn't.

Always have a soft spot for Mark Lindsay's "Arizona". Loved that song as a kid for some reason.

Would love either of those boxes.

Thanks for the heads up Colin! The small sound samples are tantalizing. I just heard about this today as well: http://www.amazon.com/Still-Out-Lunch-Russ-Johnson/dp/B00NFJZVZW/ref=sr_1_1?ie=UTF8&qid=1412646558&sr=8-1&keywords=russ+johnson+still+out+to+lunch

Exactly my thought as well. The trio with Prevost and Tibury seems incongruous, but it hopefully would reveal a different side to KV.

The RED Trio has released a fantastic CD of a 2013 live performance with vibist Mattias Stahl. Here's an excerpt from my review: "What I’ve come to appreciate about the RED Trio is this great sense of architecture they bring to what they create in the moment. The performance as released consists of three pieces ranging from 16 to 20 minutes each, and it’s fascinating to hear how each develops. One moment the group will be engaged in intense interplay, then turn on a dime to sparse sections with what sounds like prepared piano and percussive interjections from Ferradini. For a small group, they create an impressive set of textures. The more intense sections of this performance remind me of The Feel Trio. Pinheiro’s playing has some of Cecil Taylor’s markers, but he’s developed his own vocabulary that contains more use of space and silence than any of Taylor’s work, along with the way he dampens his strings to generate percussive effects. Guest Stahl fits right in with a metallic flavor to his vibes, and sounds like a permanent member of the group. The RED Trio is known for their democratic interaction, and they don’t disappoint here. As I write this, I realize it’s somewhat useless to single out any one member’s contributions, as one might when listening to a traditional piano trio. Every time I listen to North, and no matter how hard I try to focus on one member at a time, I end up perceiving the totality of the performance. There are a lot of trios that emphasize “leaderless” group interaction, but the RED Trio takes this to another, unique level." You can read the full review of North And The Red Stream on improvisedblog.

Nice site, Chuck. You're getting love from musicians on Facebook. Just ordered Silver Cornet.

To jlhoots point, I love her on tenor but she's got a distinctive style on soprano as well, which is a horn that can make some players sound anonymous.

I second Clifford's endorsement of Beating the Teens. In fact, I may have written a review of that (ahem): http://improvisedblog.blogspot.com/2014/06/ideal-bread-beating-teens.html

Being married to someone who calls the music we love "freaky jazz", I got a chuckle out of reading this.

That was great to read, thanks.

You mean I might drive three hours only to hear the Dave Burrell version of Silent Night and Jingle Bells? It might still be good, and as long as he plays some Jelly Roll Morton... I believe he plays "Grandma got run over by a reindeer."

Canadian saxophonist/flautist Anna Webber has a great new CD out on Skirl. Here's an excerpt from from my review: "SIMPLE is at once an apt and a misleading title for this CD. Saxophonist Webber, a new name to me, has attracted a couple of A-listers in (Matt) Mitchell and (John) Hollenbeck for her project, and upon listening it’s easy to see why they wanted to be on board – there’s a lot to sink your teeth into. Ms. Webber uses only the three instruments to fulfill her compositional vision over the seven tracks of the album. However, she deploys an impressive variety of approaches to the material, from quieter minimalist passages to themes stated in unison to knotty full-bore free improv. Using only woodwinds, piano and drums creates a lot of open space in the music, and Webber plays in and around the compositions, suggesting they could unspool infinitely. Her tone on tenor is malleable, bending and stretching notes in a way that calls to mind the spirit, if not the exact style, of a young David Murray." You can read the full review of SIMPLE on my blog.

Well, you certainly sucked me in with that post title!

xybert, I feel your pain and I'm sure others do on this board. I like being up on the new releases and I end up spending more than I should. I made the conscious decision years ago to buy mostly new stuff, but even then, something like the Miles Davis Bootleg series or the live Jimmy Giuffre comes along, and well... Time is a big limiting factor as well. I never have the time I'd like in a given week to listen to all this stuff that ends up stacking up around the place. With digital as well as physical releases, and more artists releasing stuff on their own labels, there's a ton of good to great music being released in this little niche we love. And you can't keep track of it all, never mind buy it or listen to it. Downtown Music Gallery carries TUM releases.

Saxophonist, composer and ethnomusicologist Hafez Modirzadeh has a new CD out on Pi Recordings. Here’s an excerpt from my review: “With In Convergence Liberation, Hafez Modirzadeh has accomplished an extremely skillful blending of jazz, avant-garde classical, and Persian as well as Iberian music. The record proved somewhat difficult to wrap my head around, and write about, because with its diversity of approaches and instrumentation, along with its length over 18 tracks, Liberation at first sounds like two or even three different albums. It was when I began focusing on the strings that I realized that they serve as the unifying thread throughout the record. Far from a “reeds with stings” date, the writing for the ETHEL string quartet is complex and deftly woven into each piece. In fact, the 4-part Suite Compost solely featuring the quartet is one of the highlights of the entire album. In addition to the strings, Modirzadeh blends his reeds, the trumpet of Amir ElSaffar, Ms. Bermejo’s voice, and traditional Persian instruments such as the tonbak (goblet drum) and daf (frame drum) into a unified whole. Certain tracks...bring more of the Persian musical influence, and others, such as Number That Moves featuring Modirzadeh’s plaintive alto, will remind one of Ornette Coleman.” You can read the full review of In Convergence Liberation on improvisedblog.

Exactly.

I was wondering about this as well. It's going to be hard to make it there by 6:30.

Xybert, I've had the exact same reaction! I'll check this out on Spotify.

I'm with you, Dick, I mostly buy new releases by current musicians for the reason you cited and because I want to hear what's new. I bought that Taylor set and like it a lot, but I'm a Taylor fanatic. I too hope all those concerts get released but it's been several years now.