king ubu

Oh, back in the old times there were some who cared about forward:

Just started playing this - need to i-d #1 right ahead: these are them Vienna Art guys led by that swiss man in Vienna... prob. the great unsung Matthieu Michel on trumpet (or flugel?). Can't pin a name to that track, but it coulde be that "Back to the Blue Notes" tune? Or something from the "art&fun.25" programme... he's certainly providing a lot of highlights these days (I think the VAO has gone a bit drab over the course of the years, sorry to say... but Michel, Gansch, Mears, Sokal, Scherrer, and a few others still provide great solos, with Breinschmid and Gonzi being a very very nice rhythm section... it's more the arrangements of Rüegg's that got a bit boring in my humble opinion... need to play the hatO "Minimalism or Satie" again soon - now that was what VAO/Rüegg were about!)

Have you checked the manual, Flurin? I sent you the Fantasy catalog download link. Thanks, in already! I don't think Universal owns Concord http://new.umusic.com/history.aspx Thanks for that - makes more sense... but then I guess Universal/Vivendi can own whatever they want in a blink...

Claude, can I get that link for the Fantasy catalogue as well, please? Will send you an email about it! Here's the info-page on Ben Webster's "Soulmates" (source: http://www.concordmusicgroup.com/artists/album/?id=1394) Ain't that cool, huh? Is it correct that Concord belongs to Universal/Vivendi now? Guy at a shop told me so last week, and the website's sucking design and unlogical organisation is pretty similar, too...

Oiiii! Quite a trip! I'm just now digging into the weird strings track #5... after some early to mid-fifties bop/hardbop and some guitaristics... quite a trip! Uh, here comes the barisax - great stuff! Is this from Harry Carney's strings album? Have to play that one again soon!

I like Claude's avatar

Oh, but wait, that's colour, so it's not what you were looking for, sorry!

Too bad it's not available in vivid colors! ← purrty vivid I'd say, but that's just one man's opinion, of course

Margitza can play indeed! Here's an earlier thread about him.

Ordered that Tchicai, and added this one: No idea if that was a stupid or a smart move... Also i think I did order the "New Dance" disc in the latest discplus.ch hat-sale (I think not that great a deal for foreign orders, due to shipping costs? Not sure... David, you're aware they're having another sale, I assume?) Played the Copland solo hatO, "Time Within Time", and I liked it a lot - quite in spite of what I expected... found it as moody as some of the better parts of that "jazz n (e)motion" box, really! That was one of the freebies we got from WXU at our interview

tjobbe, got mine yesterday or before (wasn't home for a couple of days so can't tell) - thanks a lot! I'll try to participate again, for a change!

Playing this one again: Still like this a whole lot! The mix of folsky touches (as often pulled by Guyvoronsky as by Petrova) with free (? is it free or does it just make that impession?) parts, the mingling of abstract passages with almost grooving ones (or both of that happening at the same time) makes this a very enjoyable set for me. Also, it's a disc that's pretty easy on the ears, yet never gets boring or dull... not just your run of the mill chamber jazz!

My info on the Berlin "Au Privave" (assuming there's not another version of it from the 24th, too): Kirk, Rahsaan Roland 1964-09-27 Berlin-Schöneberg (DE), Jazztage, Prälaten Roland Kirk (ts,whistle), Sonny Stitt (as), Walter Bishop Jr. or Tete Montoliu (p), Tommy Potter or Peter Trunk (b), Kenny Clarke (d), add J.J. Johnson (tb-#2) Sound: B+ TT: 24:20 Source: radio broadcast 1. Au Privave (15:03) 2. Steeplechase (8:00) I also have: Kirk, Roland - Quartet Berlin (DE), Philharmonie, Jazztage 1964-09-26 Roland Kirk - flute, manzello, stritch, tenor sax, vocals; Tete Montoliu - piano; Jimmy Woode - bass; Kenny Clarke - drums Sound: A-/B+ Source: radio broadcast 1. So Long Note, Baby 6:45 I wonder why Lonehill is sure about it being Tete on "Au Privave" - can you check the timings to see if this is indeed the same recording? The Montmartre recordings are a badly documented mess, it seems! I have this, but I would not bet anything on correctness of the date! Roland Rahsaan Kirk Club Montmartre Copenhagen, Denmark Oct 10, 1963 FM Broadcast -> Tapes -> Philips CDR765 -> dBpowerAMP Music Converter Roland Rahsaan Kirk (ts, fl, mzo, strich, nose flute, siren, et al..) Tete Montoliu (p) Niels Henning Ørsted Pedersen (b) J.C. Moses (d) Alex Riel* (d) 1. Three for the festival 3:36 2. Every things happens to me 5:53 3. Moon river 5:22 4. Body and soul 8:26 5. Domino 7:04 6. You did it, you did it 5:24 7. 3 - in - 1 without the oil 7:24 8. A cabin in the sky 7:14 9. Medley* - The theme 6:30 TT 56:58 (That's not what I got from you, btw! Playlist is the very same for #1-7, but timings are different...)

Sad news

clem, I think you may be right about the EAI thing - I have some stuff on small labels, and indeed hat's usual run of 3000 discs (that's cheaper to do than doing smaller runs, he realized, after having done a few smaller ones early in the hatOLOGY series) may be way too much. Also I remain sceptic about the whole EAI stuff to some extent. I have two erstwhile releases and a couple of other discs, but never got fully into EAI. However, as you said, if WXU digs it, he digs it... As it seems for now he will not have any pure EAI releases on his label, but rather releases combining traditional instruments with some electronics. As for Frank Martin, I remain clueless... I just had a look at the Martin website - any recommendation(s)?

Couldn't put it better! And me too, I haven't digested all of it yet. Definitely fascinating music!

Yes. My asking if Hat was heading more in the direction of EAI was less for my interests (as I'm not greatly interested in EAI) but more out of curiousity; I'm just wondering if EAI sells better than what Hat is traditionally known for offering. (I doubt that it does.) ← I would doubt that, too. But Uehlinger is still selling what he likes and thinks he can sell. Very refreshing! The only thing he would do if the financial situation gets difficult, as I understand, would be to have more reissues vs. new releases.

So brownie should learn reading catalan in braille, I guess! Some others have read these posts, too, EKE! I'd love to lay hands on this book, I must say, even though I may have trouble understanding more than some bits... (ok, some years ago I was able to read some... García Marquez or Lorca or whatever, of course with some dictionary, but... I may just have to get into it again!)

Late as usual, but all the best, Matt!

Yes, Tony, it's Hat Hat, exactly He explained it that way: in those days, everything had to have some name implying a tangible/concrete thing (like "Table Records" or "Fork Records", those, albeit in German, were his examples). They went with Hat Records, but a friend of his (I think the guy who designed the very first sleeves) thought since WXU was of german language, "Hut" should be in there, too, thus they ended up "Hat Hut". Braxton... he didn't want to talk about what he does reissue why and when... but as I said, if he had the money he'd reissue all there is... I assume that Braxton *is* a selling point (that's why on his recent release hatO 614, a Roland Dahinden release, the name of Braxton, who only is composer of the music, but does not actually play, is mentioned on the front cover...) He gave us copies of hatO 613-17, 619 and 621 and will pass us on a copy of 627, too, plus he gave us two hatNOWs - will be interesting to listen to all of these! Not much electronics there yet, but as he said, more will come. Tony: you are aware of the eRikm/Fennesz release, are you?

Thanks Claude! So I must not be afraid that if I buy a usual-looking Sony/Legacy disc I end up having this programme on it? Why then is Switzerland being mentioned, too? The jazz releases did not have any of the info printed on their covers, as shown above! Still confused and waiting a bit, I assume...

No, I am not! But I would like someone to confirm if and how they're marked, before I pick any of them up!

That's ready and waiting, too - but not remastered, thus no need to replace if you have the old copies (I do). He gives Peter Pfister his tapes or masters or whatever. Pfister checks them out and decides if there's use/need in remastering or not. With the "Long March" he decided use would be so small that it wouldn't pay. Some things I forgot: discussion about reissuing one disc of tracks from the two Anderson-Doran-Hemingway discs (nothing definitive, maybe already dead again?), and also he sent some folks asking around for funding of a reissue of that great Urs Blöchlinger LP (he said he remembered the days when Tim Berne was working at one of those stores in NYC - Downtown Music Gallery? can't remember, you guys will know anyway - and hyping about that Blöchlinger album. I heard parts of it in some Swiss Jazz Classics series on the radio, and loved what I heard, so I hope this materializes.) Hans: this is not our interview, just a few glimpses taken from it! We talked for more than two hours and recorded more than an hour of that. Funny: while walking from that hotel where we did the interview back towards the railway station, we started talking Definitive/Lonehill/Freshshound/Gamit. Uehlinger said there was talk that Jordi was behing all of them, but that he was out of all of them (even Freshsound) in order not to damage the reputation of his Freshsound New Talent label, which he still heads. Uehlinger also mentioned just having bought a Gambit disc with some otherwise unavailable Giuffre stuff on it... he's crazy about Giuffre! Also he told us some funny stories about some of his releases. Seems that each album/disc he did has it's own little history... One upcoming new release he mentioned also is Chris Wiesendanger's trio set from last year's Unerhört festival, here in Zurich. Wiesendanger is a very good local pianist (also documented on FSNT, btw). He played mainly Carla Bley tunes, in trio with bassist Christian Weber and drummer Dieter Ulrich (who has been involved with many a swiss jazz project over the years, also on hat). And something else: hat is not a hut. Meaning: "hat hut" does not mean "hut of hats", but simply "hut" is the german word for "hat". Didn't know that, and am aware of at least one (otherwise not bad) article by some local jazz journalist who talked about the "hut of hats" when they celebrated the 25th or 20th birthday.

I'd like to know what makes you think this because other than the infamous Metallica/Napster debacle, I don't think the majority of musicians/artists support copy-protection at all. This seems to be the doing of the labels in order to "protect" their investment. Besides, if the musicians were really clamoring for copy-protection, do you think the majors would actually spend all this money to develop it? When do they ever give a shit what the musicians want? ← couw got me right here (thanks!) - sorry for posting and then not being able to answer to any reactions. I do like to support musicians, small labels, and the like, and I do spend money on a good product. And I'm getting more and more pissed by the majors' behaviour. One general question: if I buy any of the recent Sony releases (Woody Shaw, Ahmad Jamal, Dexter,...) - is there a safe way to see if the disc is infected by this sh*tte or not? Can I see this from looking at the cover and/or tray? (My guess of course is: no - My rant then goes on: wtf! They don't even have to declare their sh*tte? No such law that they have to declare any software that is on their disc and may or may not install itself and may or may not do harm to any of your technical devices? This is all so stupid!)

Ok, we met Mr. Uehlinger yesterday for a lenghty conversation (he stayed an hour longer than he said he had time to... a really nice and warm person). First some facts: Warne Marsh: ready for two years, should be out next year more EAI: let's put it like this: he listens to stuff out on Grob and is no stranger to Erstwhile... and he does like electronic stuff more and more, he said, so yes there will be more, but mostly not "pure" EAI, rather than albums/project mixing traditional instruments and electronics, or adding traditional instruments to electronics or whatever. He said there should be about 3 releases including electronics next year. McPhee: an album with (by?) Clifford Thornton is ready for being out, too (I don't know if it's the WBAI one or what it could be). generally: he doesn't look for a successor (rather he thinks selling the label is a better idea than some successor watering it down) and plans to continue as long as he's able to, health-wise. Money seems to be a bit less of an issue, he does other ways of paying his musicians (no big advance payments possible anymore), and many of the musicians seem to be solidaric with him and stick to his label, too. Anyway, I won't tell more about this here. New releases/Reissues: generally, his goal is to document new music, not to turn his label into a reissue label. He envisions 1/3 reissues opposed to 2/3 new recordings, but costs for reissues are much lower, so he says that if times get even rougher, he may increase the ratio of reissues a bit. Also he said that if he had the money, he would re-release all his recordings now (so if anyone has a million or so and doesn't know what to do with it, PLEASE send him an email and ask for his bank account!) CT not "Garden" yet, but the other OOP album will be reissued next year, too, he said. So, all together, it seems he's in good spirits, still has many many plans and projects and does not waste many thoughts on stopping or cutting down. He does as much as he can, which is great! Also he's dealing with other (swiss and yurpean) labels to set up some kind of online/mail distribution, since small labels more and more often are not carried anymore by the large stores/chains. Nothing definitive yet, though...