Д.Д.

Ultra-Vybe has a website for this series: http://www.ultra-vybe.co.jp/sugojazz/

Joe, thanks a lot for the BFT and for the insightful write-up here. Unfortunately, I did not find the time for attentive listening last month, and even with cursory listening got as far as track 7 only (Messrs. Jarrett and Motian breaking my will), but will still listen to it soon. Loved that Buddy Terry's solo, never heard (of) him. I actually thought this was Sam Rivers at his less frustrated (to my ears Rivers sounds quite neurotic). I believe Haynes plays cornet on that Blackwell Project track, not trumpet. I love these Blackwell recordings too, and I think it comes down to excellent tunes and simply fantastic playing by Haynes. As you mentioned, Blackwell's playing is solid (in best sense of the word), but not spectacular here.

Going to see these guys live today, so playing some of their stuff in anticipation:

Yeah, me neither. I have a bunch of his CDs, don't think I liked any of them that much. I have this one by Shapiro, "It's in the Twilight": It's quite good with some excellent Peter Apfelbaum solos.

I saw this quartet live with this program. I thought the tunes were cute but formulaic and I am really not a fan of Halvorson's playing. She has her tricks (a trick?) that is exciting the first time you hear it, but gets tiresome when repeated many many times. I thought Okazaki was more interestigng a guitarist.

Another one I really like is Borah Berman Trio: https://www.discogs.com/release/1673899-Borah-Bergman-Trio-Luminescence It's very different to other Bergman works, all restrained and lyrical. Not credited to Zorn on Spotify, even though he actually plays on one track!

Yeah, me too. I am equally excited that I can now get rid of many Tzadik CDs with clear conscience (all Zorn will go).

Yes to both of these.

Yes, absolutely. I remember liking this one a lot: https://www.discogs.com/release/2653364-José-Maceda-Drone-And-Melody This one is mesmerizing: https://www.discogs.com/release/669503-Richard-Crandell-Mbira-Magic It's funny that Spotify lists John Zorn as an "artist" here on many non-Zorn Tzadik releases. He's merely an executive producer. I wonder if there is any particular intent behind this. I doubt that Zorn is after someone else's micro-pennies Spotify pays for streams. Maybe he tries to lure Zornofans to other people's works?

I like Massacre (Frith / Laswell / Hayward) albums a lot. A loose guitar power trio.

From the business synergies standpoint, Songtradr (what a stupid name) makes more sense than Epic Games. I am using bandcamp a lot, and I have not noticed any changes since Epic acquisition. Well, the staff unionized. One of the reasons it was sold after merely 18 months might have been that Epic Games had no clue what to do with bandcamp.

Well, Zorn probably wrote another 200 pieces today, so you never know. Or maybe you do. I remember actually liking this one when it came out in 2007 (the cardboard cover was rose scented!). Haven't listened to it for ages, not sure what I would make of it now:

Thanks for the info. I am not too interested in Zorn, but there is some great stuff on the label by other artists:

First listen to this one, enjoying it a lot: https://confrontrecordings.bandcamp.com/album/be

The DG Avantgarde Series box has been released. These are recordings made in 1968-71. All on Spotify:

Some people, myself including, would disagree regarding some 80's CDs: Regarding Sonny's "East Broadway Run Down", I agree with Allen - I think Sonny sounds really contrived on this album. I also don't like Garrison's playing, so my main enjoyment here is Hubbard (whom I don't normally like) and Elvin (who is just great here). Looking forward to Jim's Milestone Sonny exoneration arguments. I tried repeatedly and found them sort of trivial (compared to Sonny's earlier work), there was a lot of much more interesting music around at the same time, IMHO.

Your mentioning of Roden, whom I haven't listened to for a long time, prompted me to check his Wikipedia entry and it says he died a couple of weeks ago. Very sorry to hear this, I liked his work. Will listen to this one later today: https://www.discogs.com/release/237427-Steve-Roden-And-Brandon-LaBelle-The-House-Was-Quiet-And-The-World-Was-Calm . Regarding the Reboul ESP album, I had a message exchange with him, he is not active as a musician any longer. This trio recording is 20 years old. ESP is going a stellar job since its resurrection, a lot of good (new) stuff on the label.

I really liked this one. Thanks to ESP for releasing it.

Interesting developments in the music industry. Apparently, Universal renegotiated royalty model with Deezer, one of the smaller streaming services. Now the streams of "professional" artists will be given the double weight compared to those by "non-professionals" when royalty pay-outs are calculated. In some cases, "non-professional" streams won't be receiving any royalties at all. How do they define "professionals" you ask? Well, these are the artists who generate more than 1000 streams per month on Deezer. Those who have less are classified as "non-professional" or, as per Deezer CEO, "noise" (AI algorithms will take care of determining which tracks are fully fledged "noise" and which are merely "non-prefessional"). Says Universal's Chief Digital Officer (yes, they have a position like this): [the new royalty model would] ensure we are better supporting and rewarding artists at all stages of their careers, whether they have 1,000 fans or 100,000 or 100mn". It's all about the (professional) artists, you see? Universal's Chief Non-Analog Officer also does mention that the move will be "revenue positive" for Universal (coincidentally, I guess). Given that Universal (together with Sony and Warner) have streaming services by whatever passes for their balls, the deal is very likely to be replicated with the big guys like Spotify, Apple and amazon. But I would assume with them the "professionality" threshold will not be Deezer's paltry 1000 streams per month - it will be 10 times higher. This would essentially cut off 99% of the living jazz musicians (10 dead jazz legends - or whoever controls their music - will still be OK). You know, all these people who by uploading their non-professional noise prevent Taylor Swift and Drake from being rewarded fairly.

Just listened to the first 7 tracks, and a here are just a couple of comments about the tracks that I identified. Will expand later if I have time. Track 2. Minneapolis finest. The hyper-active drummer and his writing style are immediately recognizable. I know this album and I love it. Somewhat unexpected to see it released on a venerable Swiss avant-jazz label. While the music contains no improvisation, it's surprisingly interesting to listen to. The tunes have strong hooks, nice flow, good build-up and some really unexpected turns. I don't think this is the best track on the album, though . Track 6. A beautiful, somewhat melancholic tune written by the saxophone player (good writer, not that interesting a player, IMHO). Cornet solo is fantastic - the flow and ideas are fascinating, it's a shame the player is not known better. Sadly, the drummer, the leader of the band, would die just a couple of months after this recording. The bass - drums team works very well. An album I return to often. Track 7. Well, all the musicians are instantly recognizable (is this a trademark groan at 00:18?). I am not a fan of the fussily precious pianist. And I really can't stand the heavy-handed clumsy drummer - neither here, not anywhere else I've heard him. The cymbals bashing is unbearable (yeah I know, unique stylist revolutionized the role of the drums, whatever). The tune is simplistic and cheesy. The only thing I like here is the bass. Sorry, really hate the stuff. Except for #7, I liked all the tracks, will comment on them later - and look forward to listening to the rest of the BFT. Thank you.

I also find myself in the situation where I listen to a new release once, say "this is good", and then never return to it. There is just too much (good) stuff released these days. 577 Records releases a couple of albums per week, there is no way I can possibly catch up. Here are a few new-ish releases from the last couple of years I returned to with pleasure (but still maybe three-four times tops - this is what passes for "rewarding repeated listening" these days ). Please note that some of these could be called "avant" only by the standards of the Organissimo forums: 1. Jennifer Allum; John Butcher; Ute Kanngiesser; Eddie Prévost - Sounds of Assembly (Ftarri) 2. Hafez Modirzadeh - Facets (Pi Recordings) - this one I listened to the most of the bunch 3. Jane Ira Bloom; Mark Helias - Some Kind of Tomorrow 4. Michael Moore; Paul Berner - Amulet 5. INAWHIRL (Georg Gräwe; Sara Kowal; dieb13) - Streugebilde (Random Acoustics) 6. Max Johnson Trio - Orbit of Sound 7. Cath Roberts; Olie Brice - Conduits (Relative Pitch) 8. There Be Monsters (Boštjan Simon) - Rubikon (klopotek) 9. Barry Guy And Friends - Kraków 2018 (NotTwo) 10. Maya Homburger; Barry Guy; Lucas Niggli – Acanthis (Maya Recordings)

For francophone humairophiles - an excellent five-part interview with the man on Radio France: https://www.radiofrance.fr/francemusique/podcasts/les-grands-entretiens/daniel-humair-batteur-1-5-j-ai-commence-a-taper-sur-les-meubles-de-mes-parents-avec-des-fourchettes-7785726

CIMPs / Cadence releases are on Apple Music.

Boy is this a smoking live date: Motohiko Hino Quartet + 1 (recorded 1976)! Who is playing the first Billy Harper-ish tenor solo on the first track - is it Mabumi Yamaguchi or Yasuaki Shimizu (I'm not familiar with either)? And Watanabe on guitar like an edgier version of Jerry Hahn. Listening to it again - man..!