P.L.M

It is.

Heu, sorry guys, I just made a slight mistake (was so late yesterday). TRIANGLE from MARTIAL SOLAL is on JMS, not JMT. JMS = JEAN-MARIE SALHANI. So (he-he) NO reedition on WINTER & WINTER to expect. Heu, could get you phone number of JMS, or his fax number if you wish... But the guy seems to have run out of bussiness (Brownie do you know something about?)

Really, I don't. I just throw the last PORTAL I listen too (that miserable MINNEAPOLIS blurp) by the window (heu, not in the street, in my garden that I could go to sell it the next day and buy me some NICE MUSIC.) So, I've solemnly renonce to PORTAL since this dreadfull time (only agreed with myself to buy nice reedition of the early PORTAL.) The last record of MARTIAL SOLAL I have bought was the magnificent TRIANGLE on JMT (I think it's OOP) from 1995. A complet masterpiece (in trio with MARC JOHNSON & PETER ERSKINE - what a drummer when he doesn't play crap music.) After that, I've decided that MARTIAL SOLAL (the *great*, and I praise him) have reach his pick and, surely, could not surpass it ever again. So, I have decided to leave him forever and keeping the feeling this music has gave me in me (only refresh my ears time to time by listenning to it - beautifully recorded by the way.) Beautifull story, huh?

Are you making a joke on me UBU? I don't have listen to these old farts in years!!! I mean, to their recent works. If you add up their respective age, the result is older than 102 years, your royal something. Too old even for me to spend time with that kind of geriatric musicians/record. Well, now back to normal. I've the side two of NEFERTITI, THE BEAUTIFULL ONE HAS COME to listen to. Just put my hand on a copy of the REVENANT edition and find that there is twice more stuff on it than on my old LP. AND I DIDN'T KNOW THAT!!!! And nobody has told me this, even on FUNNY RAT!!!!!!!

Yes, but what about DAVID WARE, your majesty? And you are both kidding me wit ODEON POPE. I've seen him twice in the seventies and even at that time, my friends and I, (whe were about your age at that far away period, he he) thought that the guy was just a down ass hardbopper who try to be up with the hipe, but didn't success much (quite nice sound, thought.)

I don't want to hijack this thread, but did you see all that I'm now a GROOVER? 102 posts. I feel old suddenly. Feel like 102 years after I have to read your sacrilege posts. Put all our modern idols down the hill. How do you dare? You will see when, in ten or twenty years, youngsters will come to this thread laughing about your beloved GEBIA, how you' ll feel. Punks.

What is sure, it's you're both up to this sentence this last few days. One who dislike DAVID S WARE and the other who trash RIVERS and, in the same sentence, CONFERENCE OF THE BIRDS, RIVERS AND BRAXTON!!! Go both buy you a life. Or a new pair of ear. Or both. Whatever. Heu... my friends.

The record is "FREE JAZZ" (yep, just like the Coleman's one). Recorded in 1965, it's the pionneering record of the french avant-garde scene. And it's a stunning one, Dan Warburton is right about. FRANÇOIS TUSQUE is a strange person who still makes (beautiful) records time to time but who has been marginalized (is this word existing in english?) by the establishment but also by his on will (he never went into the "jazz bussiness" of any kind by choice.) It's far to be as much "outside" than KARYOBIN or MACHINE GUN, but it's a powerfull record with most of the names who will be the crucial actors of the French modern scene to come (MICHEL PORTAL, FRANÇOIS JANNEAU, BERNARD VITET, BEB GUERIN). The funny story of this session it's than he has been directed by a musician who did'nt know very well to play piano at that time when all the others was first conservatory prices!

I've the Shandar boxes of TAYLOR, the two separate albums of SUN RA and the double album of AYLER who comes after the realised of the single AYLER records. The print of those album (and, except the AYLER, the sound quality) has never been of great quality (surface noise and all of that.) But they are pretty listenable and they can't seem to degrade throught time. So, if I was you, I will go for the SHANDAR. And, in box or individually, I'm pretty shure they are of the same vinyl quality. I recently wash all of them with my dedicated wahsmachine that I recently bought. And, if the surface noise stay about the same, the sound as improve quite a bit (he is freshier and more accurate.)

... Yeah, and quite boring music. A major disappointement after the *great* "L'AFFRONTEMENT DES PRÉTENDANTS" (by the way, my copy is to sell make an offer somebody). This music, who is supposing to comment some paintings/drawings of Ernest Pignon-Ernest, sound like a very artificial artefact. To my hears, it just suitable to match a diapositives projection. It 'll has a great future, I think as gingle and/or advertisement spots music. On PORTAL I agree with KING UBU (foronce, recently). ARRIVEDERCI LE CHOUARTSE is a great and magic album, the best MICHEL PORTAL ever with the two historics ET ALORS!!!!! (FUTURA) and NO NO BUT MAYBE - CHATEAUVALLON 1972. Well, back to EDDIE PRÉVOST or, perhaps, DAVID S. WARE (smili(i)e here). David nice installation and impressive collection. From the spine, I see that you get a good numbers of BLACK SAINT, SOUL NOTE. Seems to me than there is, also, some HAT ART (6000 coll.) and I think that I've seen ONE from IN SITU. If so, which one? So, now, it's time that you go for your a new HIHG END improvement, no?

It's several weeks already than the box-set is available. I've buy it three or four weeks ago. All the materiall has been recorded during the 2003 european tour of the band (a part in spring, a part in autumn). I was at two of the concerts that have been recorded (Antwerpen & Brussels). It's, IMO and in spite of some flaw, the best set of standards recorded by AB. The sound is of very good quality and Steve O'Neil steal a big part of the show.

I have a Japanese mini-LP reedition of this album. THE LAWRENCE MARABLE QUARTET featuring JAMES CLAY: TENORMAN (JAZZ WEST JWLP-8) (I'm playing with the colors in an laughable effort to reproduce the colors of the titles of the cover.) It's a Toshiba-Emi Limited (TOCJ-9340) in a 24 bits remastering by RON McMASTER from 2001. Even if it's a Limited Edition, I think that he could be still available. Is J.A.W knows something about?

Curious to Hear CHANT on bass clarinet. And tenor, too: does he sounds like PARKER (EVAN, I mean) ? Nate, what's your take on SUPERSSESSION? And on AMM, in general?

Yep, David, you surely can start wit TOUCH. This band is a gem (look also for THE VIRTUE IN IT & SEVENTH OF MAY 2001 - THE MATCHLESS DAY, this one recorded live at the FREEDOM FEST. but TOUCH is so far their masterpiece.) I hope to get the new one soon (I mean when my CC will be in, ahem, in order again.) Two PRÉVOST who are indispensable: EVAN PARKER & EDDIE PRÉVOST: MOST MATERIALL (double CD) EDDIE PRÉVOST/ EVAN PARKER/ KEITH ROWE/ BARRY GUY: SUPERSSESSION Both are incredible great stuff. And if you feel to listen to AMM, start with NEWFOUNDLAND who still beat most of the so-call EAI stuff (but I must confess that I've heard few interesting thing in this field lately.) David, you can buy directly from the MATCHLESS site throught Paypal, I think. They send the items very quick and the prices are fair (and the site beautifull).

It's years that I didn't listen to: EDDIE PRÉVOST TRIO: TOUCH - THE WEIGHT, MEASURE AND FEEL OF THINGS (MATCHLESS) What a F***ing great record. It's from the "other" EDDIE PRÉVOST TRIO with TOM CHANT (exclusively on SOPRANO and his own man even if you can feel he has been under the influence of STEVE LACY) and JOHN EDWARDS on bass Have you heard it? And the others also (one new has just come out)? I think I will listen mostly to PRÉVOST this weekend. Also a first listening to: EVAN PARKER - ALEXANDER VON SCHLIPPENBACH - PAUL LYTTON TRIO: AMERICA 2003 (PSI) A double rec. from this unusual trio who mixed two third of the PARKER-GUY-LYTTON trio with two third of VON SCHLIPPENBACH-PARKER-LOVENS trio (read again, it's correct.) So far I've listenning to disc one and so far so good. But, well, it's EDDIE PRÉVOST weekend, so let's spoke about EDDIE. Do you know him? Do you like him?

David, please!! It's the *Great* LARRY (LAWRENCE) OCHS.

David S. Ware is not a Coltrane clone anymore. I am not too familiar with his ouevre, but of what I have the one I like the most is Corridors and Parallels (AUM Fidelity). Very strong work IMO, with excellent writing, and very original synth playing by Matthew Shipp. Ware burns on it. I don't understand how a free jazz or free impro lover can go on and ignore DAVID S WARE who was absolutely mind-blowing when playing with CECIL TAYLOR in the seventies. CORRIDORS AND PARALLELS is good stuff but the following titles are must to have: DAO (on SILKHEART with WHIT DICKEY on drums) GODSPELIZED (on DIW with SUSIE IBARRA on drums) WISDOM OF UNCERTAINTY (on AUM FIDELITY with SUZIE on drums) GO SEE THE WORLD (on COLUMBIA with SUZIE on drums and IMO his masterpiece so far) The drumming of SUSIE make all the difference with the good WARE's albums and the outstanding ones, has you have guess. I will add to that list his hommage to SONNY ROLLINS, FREEDOM SUITE (on AUM with GUILLERMO BROWN on drums) who is a beautifull piece of work. FYI on SURRENDERED (COLUMBIA with BROWN on drums), is sole, more or less, "straight" album to this date (and, for some, is weakest), he is doing a remake with the band of his duo with BEAVER HARRIS on AFRICAN DRUMS.

The sixties SHEPP was a major figure in the NEW THING movement. And all the music he has recorded at that time, as leader or sideman, is worth a listening. From this period my favorite albums are FOUR FOR TRANE, the incredible THE MAGIC OF JUJU and the first (LP) side of THE WAY AHEAD. The blues who opens that side, DAMN IF I KNOW (THE STROLLER) it's an absolute masterpiece who still rise the hair of my arms when I'm listenning to it. Too bad that they fade away the end. Somehow I was hopping that the CD will have the "complete" version of the piece, alas... From his european records, I will keep only LIVE AT DONAUESCHINGEN MUSIC FESTIVAL, his best live ever (far better than LIVE IN SAN FRANCISCO IMO), BLASE and STEAM (but I'm maybe partial with this one because the first time I've seen SHEPP was with this trio - CAMERON BROWN on bass & the great BEAVER HARRIS on drums.) And the concert was astonishing. I never like TROUBLE IN MIND and his follow up and I don't like neither his duo with WALDRON (on CD) or with AMINA CLAUDINE MEYERS (seen live.)

I like SEBASTIEN TEXIER, too. He has a beautiful if very straight sound. But he is the opposite of a neo-academic player. IMO he has done is best playing with the bands leads by drummer CHRISTOPHE MARGUET (RESISTANCE POETIQUE in trio and LES CORRESPONDANCES in quartet). Check on the last his dialogue with BERTRAND DENZLER who is not an easy player to match. Both are on LABEL BLEU. (I think that you can easily order any LABEL BLEU on fnac.com)

I share your feeling about MOONDOC. A competent player, sort of free bopper, but with no particular skills and lot of "clichés" in his play. I think his greatest talent is to surround himself with very good to great musicians. I own two or three (must check how much) records of his but never really listen to it.

LONELY WOMAN, RAMBLIN', PEACE come first to my mind. I'll had EUROPEAN ECHOES and MORNING SONG to the previous. And I'm with ROOSTER_TIES on LAW YEARS, a wonderful composition.

And same here...

The brevity of the tracks, the use of 1940s film themes, & the focus on colouring-in themes rather than using them as launching-pads for solos are all typical Blake. It's a very good album with among other things an excellent "I Should Care" (intended as a gloss on Monk's famous solo reading). I like short albums, so don't mind the 38-minute running time. If you both like this duet you should try to listen to the STEPHAN OLIVA's record who belongs to the box JAZZ'N (E)MOTION: FILM MUSIC ON THE PIANO. It includes pianist like MARTIAL SOLAL, PAUL BLEY, ALAIN JEAN-MARIE and others. Each records could be bought separetely. The best of the bunch was the OLIVA. He plays (in solo like everybody else) ROSEMARY'S BABY, VERTIGO (directly related to RAN BLAKE & ENRICO RAVA), THE MIRACLE WORKERS, INDIA SONG, TOUCH OF EVIL, WHO'S AFRAID OF VIRGIANO WOOLF, LE MEPRIS etc. Beautiful interpretation of all this theme with nearly no improvisation but very intelligently arranged. It's maybe out of print but if you can put your hand on one copy, don't hesitate, take it. You won't be disappointed.

Not albums title but... ALL THE THINGS YOU COULD BE BY NOW IF SIGMUND FREUD'S WIFE WAS YOUR MOTHER and also ORANGE WAS THE COLOUR OF HER DRESS, THEN SILK BLUES by the great you know who.

BRAXTON, "not really a free impro type?" What do you think he has done all of his life as a musician? That's the best joke I've heard in a long time. Of course, another big recommendation for this two records (DUO (LONDON) 1993 and also the sequel TRIO (LONDON) 1993 with Rutherford aboard), two of the best both men have ever recorded. And the sound quality is fair. Braxton does structures, not free improv. He has repeatedly said this in interviews. See e.g. discussion in Radano, 207-12. I think he puts it usefully in the liner notes for the Wesleyan solo disk, where he discusses structure in solo recitals and gives a breakdown of his different improvisational 'languages'. It is pretty clear that Braxton is big on structure - those little squiggles after the track numbers are composition titles after all... At the time of the recordings with Parker and Rutherford this would be pretty much an unusual escapade from him. This is a list of record (LP and CD) that I own (or own once) and where ANTHONY BRAXTON "freely improvise" (living the solo records out of the bag as every improviser who do a solo record "structure" his improvisations, and that include EVAN PARKER, PETER BRÖTZMANN, JOE MC PHEE and all.) - ALAN SILVA & THE CELESTRIAL COMMUNICATION ORCHESTRA: LUNAR (1969) - CREATIVE CONSTRUCTION COMPANY (LEO SMITH, LEROY JENKINS, M.R. ABRAMS, RICHARD DAVIS, STEVE McCALL): VOLUME I & II (1970/71) - ANTHONY BRAXTON & DEREK BAILEY: FIRST DUO CONCERT (LONDON 1974) - ANTHONY BRAXTON with DEREK BAILEY: LIVE AT WIGMORE (1974) (it's on this one, where some pieces have elements - we can't really speak about "structures" here - who have been pre-determined) - RICHARD TEITELBAUM & ANTHONY BRAXTON: TIME ZONES (1976) - COMPANY: COMPANY 2 (1976) - GLOBE UNITY ORCHESTRA: JAHRMARKT/ LOCAL FAIR (1977) - COMPANY: COMPANY 6&7 (1978) - MAX ROACH featuring ANTHONY BRAXTON: ONE IN TWO, TWO IN ONE (1979) - MAX ROACH featuring ANTHONY BRAXTON: BIRTH AND REBIRTH (1979) - ANTHONY BRAXTON & DEREK BAILEY: MOMENT PRECIEUX (1986) - ANTHONY BRAXTON & GEORG GRAEWE: DUO (AMSTERDAM) 1991 - ANTHONY BRAXTON & DAVID ROSENBOOM: TWO LINES (1995) - ANTHONY BRAXTON & RICHARD TEITELBAUM: LIVE AT MERKIN HALL (1996) - BORAH BERGMAN/ PETER BRÖTZMANN/ ANTHONY BRAXTON: EIGHT BY THREE (1998) And there is many records under his name or in collaboration who have among "structural" compositions by him or others some free impro. pieces include (by exemple, ANTHONY BRAXTON/ TAYLOR HO BYNUM: DUETS (WESLEYAN) 2002 has one of the kind.) That BRAXTON considere himself as a "structure" player, that he feels more at home in such situation, as somebody who considere himself to be more a composer than anything else, is one thing, that he had practice free impro all of his life is another thing that we can call a fact. A fact that I've witness few times "live" during the seventies (duo with FRED VAN HOVE, member of COMPANY, etc.) That most of the records listed above, all things considering, are not his best work and that some are even miss (MOMENT PRECIEUX with DEREK BAILEY) or terrible (EIGHT BY THREE with BERGMAN & BROTZMANN his certainly the worst of the list ) doesn't change anything either: BRAXTON has done is share of free impro during all of his career and this cross all his discography since the beginning. So improvising with PARKER and with PARKER & RUTHERFORD is very far "to be pretty much an unusual escape for him."