David Williams

Evan sticks to tenor. Relaxed, melodic playing from both; in fact, Evan is more melodic, and uses fewer of his 'techniques' than on any of the dozen or so of his recordings I have. Still that lovely flow and tone, though. I like.

No use to you now, but a friend and I drove home from Brussels to London with a snapped clutch cable - putting it into 2nd then starting the ignition gets you moving (with a lurch), then you just have to choose the right speed to change gear without bothering with the clutch. Timing your approach to traffic lights becomes an art.

Thanks for drawing attention to this Bev.

Now available.

This is a great program. We seem to be getting some adventurous stuff on it these days. I think it's improved since it first took over from Brian Morton's program (Impressions?), when it was a bit too safe.

Over the years it's been Abdullah Ibrahim/Carlos Ward Live At Sweet Basil, Coleman Hawkins The high And Mighty Hawk and The Hawk Flies High, Wynton Kelly Kelly Blue, and more recently Air Air Lore and Serge Chaloff Blue Serge. Partly 'cos I love 'em, partly 'cos they don't hurt Helen's head like a hundred dogs(though Air Lore tries her patience a bit).

I've seen Keith Carlock over here three times with Wayne Krantz; fantastic: funky, powerful, and a very tight partnership with Tim Lefebvre.

There are versions of Harlem and Ad Lib On Nippon on that disc too.

AABs Wherever I Lay My Home... and Kellock's Live At Henry's are both really enjoyable discs, with plenty of edgy playing.

In preparation: STAN TRACEY & EVAN PARKER - SUSPENSIONS AND ANTICIPATIONS - psi 04.02 A sequence of free improvisations - eight duos, two piano solos & one tenor saxophone solo - recorded at Gateway Studios in 2003 Emanemdisc

I wore out the grooves on Obsesion.

Back in funds, so just emailed Olof Bright about these.

B)

Possibly I'm just a stupid ass-donkey moron who no like jazz!!!"

Also, if you go for the Classic, you'll only have the edited version of the album.

Before you spend the ackers on the Classic LP I'd make sure you like the music, because, much as I love Mingus , Mingus forgive me, I can't get into this.

It's probably easier to understand if you actually like the album, but, to keep it simple, it's Brian Wilson's innovative production and arrangements which give it its status, I think. Personally, I also love the tunes, the voices (Brian in particular), and, of course, the harmonies. Now I've talked you into seeing things my way, try Sunflower (no. 380): the great unsung (until this poll, I suppose) album in their canon. Were the contributors asked to give their favourites or the ones they though were 'the best'?

"Warn: (0%)" My conscience is clear.

You may not have such easy access to them over there, but the French have put out plenty of Duke on vinyl over the years: I've found Uptown, Indigoes, and Rosemary Clooney in the second-hand shops over the past year or so.

"Paramedics called to the store found VanLester unconscious on top of a DVD player" What a trooper! Now that's what I cal determination.

I can't find the Sundazed LPs of Look-Ka Py Py or Struttin' anywhere (eg. not on Sundazed's site, Dusty Groove, any of the various vinyl site links I've accumulated over the years, or Google) - anyone got any suggestions?

As long as we're letting off steam: there's no capital letter after a colon.

Slow here. I'm on cable/broadband too.

There doesn't seem to be a reissue credit on my 'Josie' The Meters either. It does the job, but the cymbals are a mess.

McPhee and Braxton, I haven't got round to yet, but love Evan Parker's Monoceros and Six Of One. The Monoceros reissue is officially OOP now, so anyone who wants it better hunt it down soon. I've been finding Mats Gustafsson's Impropositions compelling listening - I can't imagine solo sax (and fluteophone) gets much more uncompromising than this - anyone else heard, and enjoy, this album? With no melody, harmony or rhythm (in the usual sense), it's the pur sound and process that attracts, and the sense of the sax as a barely-controllable machine. Evan Parker's notion of the sound being released from the instrument applies too.