clifford_thornton

Too bad. I also dig his 60s work.

That Stuttgart set is fantastic.

There are other threads that go into a number of folks’ issues with him, most of which center on hyperbole and quality control. I don't really feel like going into all of it here, but a search should reveal it all.

Too bad. I was/am a bit young to be part of the KISS Army but from certain perspectives their thing was/is undeniable.

Krin’s book is cool. He’s the uncle of a high school friend, so it was interesting to connect with him over the music.

Our improvised music series at Tubby's Kingston, "So, What Do You Think?," returns on November 11 for a night consisting of two formidable duos: Kieran Daly/Ben Bennett and Matt Sargent/Dani Dobkin. Kieran and Ben are traveling from Chicago and Philly, respectively, while Matt and Dani are New York-based (City/country). The show hits around 8 as usual, $15 in advance or at the door. Thanks to Rocket Number Nine for their continued support. Hope to see you there! Artist bios: Ben Bennett and Kieran Daly: “iterative frictional and sliding timbres from idiophones and guitar" Kieran Daly is an American composer with a concentration in experimental monophonic music. His work focuses on a primarily performance-based, first-principles approach using iterative processes, sliding timbres, and pulse salience as formal determinants. Some of his prolific output has been presented by Cafe OTO, CHIMEFest, Chicago Laboratory for Electro-Acoustic Theatre, Default Den Haag, Hibari Music, Infant Tree, Issue Project Room, Madacy Jazz, Museum of Modern Art, Poetry Project, Pilar Brussels, Pioneer Works, Pitchfork, Segue Foundation, Triple Canopy, and Wire Magazine. Since 2015, he has soundtracked several features and shorts by Canadian filmmaker Isiah Medina. Ben Bennett is an improvising percussionist who makes timbrally and formally diverse music from simplified instruments in the membranophone and idiophone families. His latest work, Music for Idiophones, deals with dynamic stick-slip behavior of various basic materials. He has toured extensively throughout the Americas and Europe and performed in several international festivals as a soloist and in improvising ensembles. His recent collaborators include Pascal Battus, Axel Dörner, Bryan Eubanks, Sandy Ewen, Beat Keller, Greg Kelley, Fred Lonberg-Holm, Carina Khorkhordina, Alexander Markvart, Karen Ng, Chris Pitsiokos, Ernesto Rodrigues, Guillherme Rodrigues, Ute Wasserman, Jacob Wick, Nate Wooley, and Jack Wright. Dani Dobkin (synthesizer) and Matt Sargent (guitar and electronics) are a musical duo from New York. Beginning with a phrase from Gertrude Stein’s Tender Buttons, "Act so that there is no use in a center, " the improvising duo delights in the exploration of their contrasting sensibilities. Since 2021, they have released two albums and completed two North American tours, during which they’ve continued a musical conversation across many shows in museums, cathedrals, universities, warehouses, and bars. Their music has been described as “a strangely emotional, gossamer-like tapestry of sounds, from barely audible phrases to saturating swells of noise. It all sounds almost like an American primitive guitar record retrieved from far in the future.” (Antonio Poscic, Future Music) Writing about their newest album, Old Dutch Church, Bill Meyer of the Chicago Reader states, “Dobkin’s electronics shimmer and writhe like something growing under the light of Sargent’s carefully spaced harmonics.” Dobkin received a BFA from Bard College, both an MFA in Sound Art and a DMA in Music Composition from Columbia University. They are currently serving as an early career fellow at Columbia University and teaching electronic music at Bard College. Matt is an assistant professor of music at Bard College.

I remember happening on a nice original copy at JRC on a trip to New York in the late 90s. Bought it without hesitation, and it's an album that has given me many hours of musical enjoyment over the years. It was probably one of the first Murray LPs as a leader that I picked up.

Might be a distribution issue with your local shop, wherein the cost to purchase is prohibitive or the distro only deals with shops that have a large minimum order baseline.

Or “Ella Guru”

yes, agreed. Without those bigger names selling at a decent pace, we wouldn't have had three CDs worth of People Band, Inaudible Collectif, George Khan archival material, Charlotte Hug, Sylvia Hallett, a particularly hairy solo Fred Lonberg-Holm CD, or any number of other things.

Exactly!

The OTC box is my favorite of the ones that I own.

I must've glossed over the LITA box if it was noted in this thread. Interesting.

I never picked up the Resonance set because a) Zev turns me off and b) I have the Douglas/FM LPs and Other Aspects, but reading this thread, I probably should.

pm sent

Lacy, Rutherford, Stevens, Parker, Bailey. I think those artists were perfectly documented by Martin's efforts, though certainly there were a lot of others who benefited from his keen ear and dedication. I was glad to have a few nice communications with him over the years, and he participated in the WPI Jazz Institute zoom roundtables occasionally as well. As for the stock/catalogue, my assumption is that his surviving partner is sorting through grief and logistics as best she can. As I recall she is older and this is probably quite challenging for her. I have no intel, but can only assume this is the case. There are a few Emanem CDs I never picked up and would like to. Hopefully they find a way over here eventually (de minimis cancellations be damned!).

Wow, there's more tension in this thread than on the Plugged Nickel set itself 😂 Seriously, though, it is very odd that the music has not been re-released on CD or LP since the boxed set/doorstop as far as I can tell. I have fond memories of first hearing some of it at my aunt's house (she used to post here), when I was first getting interested in jazz. The band was on fire and their collective search is riveting. I bought the set used, eventually, for a price that was not too insurmountable. Miles' 100th is next year, and maybe we can expect some of these boxes to come back into circulation.

re: Judson Hall, https://en.wikipedia.org/wiki/165_West_57th_Street scroll down to "1950s to present"

That’s excellent news. I only have a rip from an older CD reissue.

yeah, that is believable. The materials should be tariff-free, of course, but without actual direction from the "top," it's anyone's guess what would be applied and how...

Isn't 25% greater than the current tariff on non raw-material goods from Japan to the US, anyway?

oh, it's definitely too many, but probably a fraction of what someone such as Mr. Nessa had at peak volume!

Very nice. I don't really have vinyl on the walls but I do have walls of vinyl. When I lived in an apartment in NYC, I had floor-to-ceiling walls of records, bolted to the load-bearing axes so as not to cause structural damage. Now that I am in a free-standing house, I had to be a bit more strategic about where the weight is placed, so the custom modular units are a bit more spread out. Given the amount of records, I was told by a structural engineer not to have them all in one room or there'd be hell to pay. 😂

I never really spent time with later Pentangle, but have and adore all the Transatlantic/Reprise albums.

yes, I've heard the UK to US line seems to be open as of late.