B. Clugston

I take issue with Lonehill’s sloppy, misleading and unethical reissues. Two bad examples are Eric Dolphy Quartet’s Complete Recordings Featuring Lalo Schifrin (which does not even include Lalo Schifrin!) and Albert Ayler’s Complete Live At Slug’s Saloon Recordings, which is not complete and competes against a legitimate version that is complete. On the other hand, it’s not like a major label would ever reissue John Graas’ records and Lonehill did. But Lonehill crosses the line way too much for me. A shady label.

That's great news about Nonaah.

Thanks for clarifying. I've heard ATTO I and V before and I'd be interested in what the instrumentation/personnel are on the other discs. Cadence still has quite a few of the Sonore discs. I wonder if Leo got involved after Nick Dmitriev's death.

I was at the release party 4-5 months ago (with shy arts student girls who designed the covers for the CDs in the set in attendance). I like Tarasov, one of my favorite drummers, but I am not sure I really need 11 of his solo drum discs. Will I get this set? Surely I will. Eventually. (If the price is no more than USD90.) Did I mention that the set was sponsoired by The Ford Foundation? I find it quite amusing (and admirable). I'm presuming this is mostly previously released material. Not sure if I need 11 CDs of solo percussion either, but I'll buy it anyway, especially if is as well done as past major undertakings by Leo (ie. Document, Conspiracy, Divine Madness).

The 11 CD/1 DVD set of percussionist Vladimir Tarasov's ATTO pieces appears to be nearing release: http://www.leorecords.com/?m=select&id=CD_LR_817/828

The pressure got to me. I just took the plunge and ordered through Verge.

There's some confusion as to whether Gaumont plays on Disc 1 on Dark Magus. If I recall correctly, Dave Liebman states in his liner notes to the U.S. Dark Magus that Gaumont takes the first solo. However, I read somewhere (in Jack Chambers book, IIRC) that Gaumont himself said he came on stage with Azar Lawrence mid-concert (ie. Disc 2). I don't hear a third guitarist on Disc 1.

Albert Ayler is getting the Impulse Story treatment. Tracks are: Holy Ghost Truth Is Marching In Angels Love Cry Bells New Grass / Message From Albert Free At Last Music Is The Healing Force Of The Universe Water Music Untitled Duet Where's "For John Coltrane"? In fact, other than the first two tracks, it's like an Ayler for Lovers. There's more info and cover art at: http://www.ayler.org/albert/html/what_s_new.html

I've seen references to a June 1970 date for My Goal's Beyond as well as the February date for Devotion. Devotion was released first. Don't own either, so I have no way of confirming.

Labrynth is worth a listen--performances of Harrison's early works by a percussion ensemble.

maybe you should ask the question: who's making all the money off these endless re-celebrations of the music of Satchmo, Bird, Miles, Monk, Mingus, Trane, etc. it isn't the artists, they're long gone. if it's live, like Mingus Big Band, then cool, musicians who need the money get paid for the gig. if it's just more reannotated recompilations of multiple existing compilations of remastered digital masters of vinyl ... you gotta ask the question: how come the average jazz musician can't pay the bills ? part of the answer is that this deification of a few great artists puts much of the jazz buying public into an obsessive-compulsive mode. they don't want to take risks. what's the risk in another Miles or Trane session ? none. it's all great. but how does that help cats who are alive today trying to survive making music ? Anyone interested in On the Corner and Beyond is going to take risks. It's the Miles/Coltrane/Armstrong for Lovers crowd who aren't. And they probably aren't interested anyway.

Bobby Previte will likely be one of those people upset by On the Corner and Beyond's apparent delay. He wrote the liner notes for On the Corner's live follow-up, Miles Davis In Concert at Philharmonic Hall.

Well, anything prior to 1950 or so would almost have to be comps. They didn't have "albums" back then (at least not in the way you're apparently suggesting). Unless you'd have them replace Pops' "Hot Fives" with "Hello Dolly." And if you watched Ken Burns' Jazz, you might get the impression "Hello Dolly" was one of the greatest jazz albums ever.

That would be Third Stone from the Sun, where he performs with the Soldier String Quartet.

He's an interesting player who has performed in a lot of avant-garde contexts and plays a wide gamut of flutes. The only disc I have of his as a leader is Worlds of If on Leo, which may in fact be OOP. It's mostly solo, with some overdubbed pieces and a duet with Ned Rothenberg. I recommend it, particularly the rumbling bass flute he plays on the opening track.

Because we are fans of Miles Davis. And if the BMG cheapo routine prevails, it won't just be Miles Davis fans that are unhappy.

Further update from Miles Beyond. Bad news, considering BMG's history of back catalogue neglect. http://www.miles-beyond.com/news.htm "OK, here's the current SonyBMG insider story, inasfar as it can be known. Reports suggest that there's a war going on within the company between the Sony side and the BMG side, which the latter is winning. This apparently means that the accountants having taken over, one of whom has stipulated that all jazz titles are now subject to draconian accounting rules that leave only compilations un-affected. This far-reaching measure led an informant to complain that the accountants were in effect "wiping out an entire music genre... the jazz album." "With regards to Miles releases this means that as things stand, only the below-mentioned 80th anniversary album is still definitely on the cards. The release of the Evolution Of The Groove album is uncertain, as is the release of the 1967 Stockholm live DVD. Work on the On The Corner & Beyond boxed set has been halted... "

No shortage of candidates from LeRoi Jones/Amiri Baraka. His liner notes to "Live at Birdland" are pretty annoying.

Heard a clip of the Bolton latest on the radio this morning. Horrible stuff from the man who massacred "(Sittin' on) the Dock in the Bay." For those who find Sinatra too adventurous...

From the Dowtown Music Gallery newsletter: WOLF EYES & ANTHONY BRAXTON - Black Vomit: Live May 21st 2005 at 22nd Victoriaville New Musique Actuel Festival (Victo 99; Canada) The third day at Victo 2005 was mostly curated by our pal Thurston Moore and featured a number of noise/improv bands that might not have ever played without his push. Thurston's first pick was a not-so-average trio consisting of cheap electronics, electric guitar and drums who met at school in Kentucky called the Hair Police. Although nothing quite prepared us for the second set by Wolf Eyes. There was a rumor that Mr. Anthony Braxton was going to "sit in" with some noise band called Wolf Eyes, but I don't think anyone took that comment seriously. Word is that he had heard them at a festival in Scandinavia and was floored by their performance. Very strange indeed. When this young, punky noise trio came out and told us that Mr. Braxton would be playing with them ... and then there he was, with his alto, soprano, and sopranino saxes! Shock! And pleasantly intriged surprise! Wolf Eyes is an odd trio of homemade electronics [Nathan Young], electric guitar [Mike Connely] and sax/more electronics [John Olson]. Olson, he of the big shaved head, was also their spokesman: very funny and quite astute. They started with all three members playing some scary processed cymbals as Braxton played some quieter sopranino on top. The trio moved through bowing and scraping metal, intense guitar feedback and growling electronic noise-scapes. It reminded me of Organum at times, just not as accomplished. They ended in a frenzy of pounding noise with screaming vocals that was almost too much. For their encore, they offered Mr. Braxton of playing some other hilariously titled number, or their hit "Black Vomit", and he said, "of course"! It was a tribal, throbbing epic of slow noise that grinded, growled and groaned until it hit its stride and exploded with Braxton squealing sax riding on the waves. Not what anyone would have expected, but it worked and showed how barriers occasionally disappear up at Victo. Wotta show! CD $15 I'm looking forward to hearing this. The Duo with Fred Frith and the Sextet recording from the same festival were very good.

Found a track listing at: http://www.vervemusicgroup.com/product.asp...c=prd&pid=11525 Disc 1 1. Where Flamingos Fly 2. Stolen Moments 3. Greensleeves 4. Alamode 5. Honeysuckle Rose 6. Trey Of Hearts 7. Samba Para Bean 8. Too Young To Go Steady 9. Snap Crackle 10. Chocolate Shake 11. Impressions 12. Theme For Lester Young Disc 2 1. My One And Only Love 2. Salt And Pepper 3. Forest Flower 4. T'NA Blues 5. Someone to Watch Over Me 6. Sister Mamie 7. A Love Supreme Part I: Acknowledgement 8. Rapid Shave 9. Los Olvidados 10. Ask Me Now! Disc 3 1. Black And Tan Fantasy 2. Alfie's Theme 3. Spanish Rice 4. Mama Too Tight 5. Gypsy Queen 6. Larry Of Arabia 7. Our Prayer 8. Offering 9. Journey In Satchidananda 10. War Orphans Disc 4 1. Stolen Moments 2. The Creator Has A Master Plan 3. India 4. The Rich (And The Poor) 5. Hard Work 6. Walk With Me

It's a best-of label compilation which is presumably a spin-off of Ashley Kahn's book of the same name, or vice-versa.

Are you thinking of the recording from France in 1965 (included on the recent deluxe Love Supreme Impulse release)? As far as I know, that is the only known live recording of Resolution. It is often not easy to tell what key Coltrane is playing in on that recording. I think Lon must be right. There's definitely a recording of "Resolution" from the Showboat in 1963. It's been documented that the piece was first played there, and that it was in a different key. And like I said, I know it exists, because somebody (an old acquaintance who's a CRUEL fucker ) played it for me over the phone one time. ONE time! And no, he wasn't about to send me a copy. It exists, trust me. If this is an Andorran production, it's also possible one of the tracks is mistitled.

Bill Shoemaker reviews the Ictus box in the latest Point of Departure: Imagine you have lost your main source of income, a bad shoulder prevents you from finding new work, and an earthquake has destroyed your home. In the face of all this, starting a record label devoted to improvised music would be, to put it mildly, counter intuitive. However, Italian percussionist Andrea Centazzo did just that in 1976, creating Ictus, “the creative label for creative music.” Within a half dozen years, Ictus became one of the bolder artist-operated labels in a halcyon era for such enterprises. Early Ictus LPs found Centazzo performing in Italy with established figures like Derek Bailey, Alvin Curran, Steve Lacy and Evan Parker. Centazzo also ventured to the US as early as ‘78, showing remarkable prescience by recording with a wide swath of emerging artists including Eugene Chadbourne, Rova Saxophone Quartet and John Zorn.... http://www.pointofdeparture.org/PoD5MoreMoments2.html

The avatar is a bizarre cover of a French 45 single of Ayler's New Generation/Heart Love. You can find a big version here on this excellent Ayler site: http://www.ayler.org/albert/html/newgen.html. Speaking of covers, I'm with you on the original McPhee cover. With the exception of that brief phase of oddly cropped photos and split-sentenced type, I much prefer the look of the old hatArt 6000s. But if it's getting reissued, I can't complain...