P.L.M

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.

Just sound, you know. Just any sound in itself in the right time, even without any specific context can be beautiful. At least that's the way I am interested in seeing it now. Well, David, I think you're ready to go to the next stage of your musical evolution, who will consit in listening exclusivily to E.A.I. Let us know when you will definitely pass the line, baby!

I finally got this one (wonderfully sounding Japanese version.. but no bonus tracks (why? why?) - a great one. Probably the best Shepp I've heard (I don't have too much, I have to admit). You don't need the domestic (U.S.) reissue's bonus tracks, they're totally out of place in my opinion.

I'm confident that the FRENCH will go further. I think than, like most of the well prepared team, they will reach their pick form for the quater/semis. But there is a problem in this team: nobody plays on the left flank. ZIDANE is all over the field (what is ok). But that must oblige HENRY to play on that side much more that what he does now. And as the left back are concern, like LIZARAZU against the english team and SYLVESTER tonight, they are only defending... The consequence is that the team is much unbalance and very predictable when attacking. It's seems than SANTINI has understand tonight the problem when he has replaced WILTORD by PIRES and ask him to play on the left flank (and not the right one like against ENGLAND) what is the way he plays (well) at ARSENAL. The other problem I see in this team and who had serious consequence tonight, it's that you can't build a defense with only former CENTER BACK. You must have specialist on the flank. I think this defense will be more balance and effective if they choose to put back THURAM on the right side with GALLAS/ DESAILLY or GALLAS/ SYLVESTRE on the center and LIZARAZU on the left. Against the CROATIAN, GALLAS, DESSALLY, THURAM and SYLVESTER was all the time on each other and lost much of their defencive efficacy. I think also than ENGLAND is slowly recovering (from the defeat against the FRENCH.) With a striker like ROONEY, they can go far. But it's a pity to see OWEN plays. The guy is absolutely out of tune.

I have never heard The Flam. I guess I need to add it to my next purchase order.

Yep, seems that the so-call "death group" is especially dead boring. But, now, with this draw between the German and the Dutch it's nearly impossible to guess what teams will finish at the two first place. I can't imagine than the most dull German team ever could go throught. And, aniway, it's now possible.

To continued with bassist, I just pick in second hand shop another record with BERNARD SANTACRUZ. I'm currently listening to him and it's sound good. DENIS FOURNIER: CHAGARANDAH (Deux Z) (it's from 2000) featuring LIONEL GARCIN (saxes, he plays in some pieces two saxes at the same time), BERNARD SANTACRUZ (doublebass). SANTACRUZ very closed to TEXIER here. the disc has a very strong "folk" taste.

Yes, CHRISTIAN BRAZIER. But I'm not a fan of his record on BLEU REGARD. To short pieces in solo and not much convincing band playing on it. He has another record with ANDRE JAUME on a label that I can't remember the name. It came out two or three years ago. It could be interesting, who knows?

I think we discussed that alread, but with Avenel, Chevillon and Texier, there's some great french bass players around lately, with that great sound, too. Others? ubu France has always produced great bass players. On the "modern classic side" you had, yesterday, PIERRE MICHELOT (MILES: LIFT TO THE SCAFFOLD, DEXTER GORDON: OUR MAN IN PARIS and his association with DANIEL HUMAIR et RENE UTREGER for the HUM TRIO - integral on SKETCH) Today, you have, PIERRE BOUSSAGUET (check his TRIO EUROPA on EMARCY with HERVE SELIN, piano, ALVIN QUEEN, drums, and GUY LAFITTE as a guest.) On the "progressive side", JEAN-FRANÇOIS JENNY-CLARKE was a good example of this french particularism. Another bassist of great importance was the late Beb (Bernard) Guérin (you can hear him on the MICHEL PORTAL UNIT: CHATEAUVALLON: 23 AOÛT 1972). Among the living, I like particularly the following: DIDIER LEVALLET (NOAH ROSEN, SYLVAIN KASSAP, ANTHONY ORTEGA) JEAN-PAUL CELEA (DAVE LIEBMAN, JOACHIM KÜHN, FRANÇOIS JEANNEAU) OLIVIER SENS (CHRISTOPHE MARGUET) CLAUDE TCHAMITCHIAN (FRANÇOIS CORNELOUP, GRAND LOUSADZAK) STEPHAN BOISSEAU (DANIEL HUMAIR, STEPHAN OLIVA) JEAN BOLCATO (LE WORKSHOP DE LYON, DAUNIK LAZRO) But beside those and the already named HENRY TEXIER, BRUNO CHEVILLON and JEAN-JACQUES AVENEL, my current favorite is BERNARD SANTACRUZ who has this "big boisterous sound" that we like. Check the following if you don't have them yet: BERNARD SANTACRUZ - FRANK LOWE - DENIS CHARLES: AFTER THE DEMON'S LEAVING (AA) FRANK LOWE-BERNARD SANTACRUZ: SHORT TALES (BLEU REGARD) MARC MAZILLO - ANDRE JAUME - BERNARD SANTACRUZ: JAISALMER (CELP)

STEVE LACY TRIO: "BYE-YA" (FREE LANCE) Studio recording from 1996 with JOHN BETSCH on drums, JEAN_JACQUES AVENELL on bass & IRENE AEBI On two vocal tracks (not much annoying). Or: STEVE LACY - DANIEL HUMAIR - ANTHONY COX: WORK (SKETCH) Studio recording from 2002. An unusual setting for a marvellous record. The sound, "state of art" quality is, here, a big plus. One of his very last record. Or: STEVE LACY: REFLECTIONS (Prestige/OJC) Studio recording from 1958 with MAL WALDRON, BUELL NEIDLINGER, ELVIN JONES. The first record from LACY enterely dedicate to the MONK repetoire and one of his best in this kind of exercice.

Good to see that these two have find their way on CD. Mike Osborne is a great alto player who is much underated. His pairing with Stan Tracey was one the hight light of the early seventies english jazz scene.

STEVE POTTS is the most underated sax player of ALL time. Love the guy, love is playing. He could have been another DOLPHY (one of his teacher with JOE HENDERSON) but he chooses to live most of his musician's life in the shadow of LACY because he felt in admiration with him. LACY, many times has sing his praise and deplore that it didn't get more gigs on his own. Now, it's a bit late (he is over sixty) for him to rise to his true level. He's quite active today but the music he produces is not reflecting his true talent. The guy has only TWO disc under his name and the second is not even good. If you ever find his first (OOP) one, grab it. You won't regret it. It's not a masterpiece, either, but there is some very good stuff on it even if the record is a bit of a show case. STEVE takes somme amazing solos on few tunes. STEVE POTTS 4: PEARL (CC Production), recording date, 14 & 15 february 1990. With RICHARD GALLIANO (accordeon), JEAN-JACQUES AVENEL (Double bass), BERTRAND RENAUDIN (drums, production.) And his solos on MORNING JOY, smokes!

I have no records from this catalog but I just get from DONALD ROBINSON his latest record with LISLE ELLIS and swedish sax and flute player BIGGI VINKELOE, one of the rare woman to have played with CECIL TAYLOR. The record, on another swedish label, is pretty good and she is a fine sax player: - ROBINSON ELLIS VINKELOE: BLUE REVE (ELD Records) You can find it here: www.eldrecords.se She has one record 0n LJ Records who looks like an interesting one.

yep, and it's a great record. Free jazz in the great tradition of COLTRANE/ AYLER. We have spoken about OPENING THE GATES in the FUNNY RAT thread. There's two more JAMES FINN to come this summer. One Session with the same musicians on CIMP (Duval, Dickey) & another trio (with Duval & Warren Smith) on CLEAN FEED.

Who doesn't play bass clarinet this days? Some favorites: - Rudi Mahall - Carlos Actis Dato - Hans koch - André Jaume - Denis Collin - Jacques Foschia - Joe Giardullo - Vinny Golia - Avram Fefer - Michael Moore - Don Byron - John Purcell - Michael Marcus - Marty Ehrlich - Michel Portal - Louis Sclavis edit: corrections. Thanks N.D.

THOMAS CHAPIN & BORAH BERGMAN: INVERSIONS (MUMWORKS RECORDS.) Recorded live in New York the 3/30/92. Not for the "fainted heart" (reserved, maybe, only for the FUNNY RAT affiliate.) The best Chapin IMO with HAYWIRE and ANIMA.

I am not sure about essential, but I like Braxton in small setings (solo, duo, trio) and as much improvised as possible (since I don't think his compositns are always that interesting)

I've seen last Thursday JOACHIM KHÜN with is new trio (ERNST REISINGER on drums, JEAN-PAUL CELEA on bass), at the "JAZZ!BRUGGE" festival. Good concert even if KHÜN is mostly unbearable to look at (sheaking his head all over, jumping on his seat with an expression of permanent extase on his face.) A caricature of the "romantic and passionate" piano player who largely beat KEITH JARRET on this ground. Nevertheless, the best moment of the show wasn't his piano playing but the two times that he takes an alto sax and played in the manner of ORNETTE COLEMAN with fire (of course) but also with an absolutely astonishing technic. I knowned before that he plays reeds, but not at that level. In his discography, the album that I liked the most seems to have never find its way into CD. It's an untitled quartet date from 1982, recorded for ALISO RECORD with the master on piano, GERRY BROWN on drums, DETLEV BIER on bass and a young CHRISTOF LAUER on tenor and soprano. Post bop (to use the definition of ALL MUSIC GUIDE) of the highest level played at an incredible speed tempo. CHRISTOPH LAUER has never sound better than on this one IMO.

Well, BARRY GUY. First I will list some records that I've never heard but I'd like to: His new solo album SIMMETRIE (2002, MAYA) Three EVAN PARKER dates: DIVIDUALITY (2001, MAYA) BUSH FIRE (1997, OGUN) 4,4,4 (publish in 2004 on KONNEX but recorded in the seventies, eighties?) and this trio on EMANEM: IMPROVISATIONS ARE FOR EVER NOW, from 1997 with Philipp WACHSMANN/ HOWARD RILEY/ GUY If any of you know some of it, please comment. What I have and like: FIZZLES (MAYA), his (first) solo date. A great record. Like The KOWALD's, it's a collection of short pieces (from 2'15 to 9'14) and it's much in the same musical family. To my ear, the KOWALD is still ahead but this one come as a close second. I don't know so well ARCUS his series of duos with BARRE PHILLIP, as I have only listen to him... once. Must give it another try. The duets with PARKER: OBLIQUITIES (1994, MAYA) is a must to have (even if it seems to be rejected here and there.) Very muscular and violent at time. Love it. BIRDS AND BLADES (STUDIO & LIVE) (INTAKT, 2003) is different from the former. More deep, more streep to the essential. Not much difference between the studio & the live part. A great record. Love it much, also. The PARKER/ GUY/ LYTTON TRIO: The best free impro. trio ever. All of their records are worth to be listen to, IMO. I'll select these four, aniway: ATLANTA (1986, IMPETUS) IMAGINARY VALUES (1993, MAYA) AT THE VORTEX (1996, EMANEM) (maybe my favorite, leave you breathless.) LIVE AT 'LES INSTANTS CHAVIRES' (1997, LEO) (close second in less glorious sound.) + EVAN PARKER 50th BIRTHDAY CONCERT (1994, LEO) Guy is only on one of the two discs. Great playing all over. The contrast between the two trios (PARKER/ SCHLIPPENBACH/ LOVENS, PARKER/ GUY/ LYTTON) is a proof of the diversity of the european improvised music, even if some think that "it sounds always the same." The duos & trios with MATS GUSTAFSSON: FROGGING (1999, MAYA, under the name of GUSTAFSSON.) A duo who anticipe on... BIRDS AND BLADES. Muscular at time but never agressive. MOUTH EATING TREES AND RELATED ACTIVITIES (1992, OKKADISC, under the name of GUSTAFSSON.) Trio, with PAUL LOVENS on drums. Strange one. Five parts, some short, some long. The first one is a solo from Gustafsson, the third a solo by GUY. The trio sides are very concentrated & very contrasted in the same time: can be quiet for some period and suddenly exploded with an incredible violence. YOU FORGET TO ANSWER (1994-1995, published in 1996.) The name of GUY comes first but, like MOUTH, the music is entirely improvised. More of a group playing here. The three with RAYMOND STRID on drums (a hell of a drummer/percussionnist. I find him better than LOVENS in this context) are simply astonishing. GUSTAFSSON has, maybe, never been closer to EVAN PARKER than on this record and, in the same time, as a paradox, he's more is own man here than on the preceding. My favorite GUY with the swedish without doubt. To follow...

I like it very much but I like ROB BROWN playing quite a lot. Not a groundbraking player, more a journeyman, but one who always fits perfectly with the music he plays in and the musicians he plays with. There is another date from WHIT DICKEY who feature ROB BROWN and who is also a one to have. It's call PROPHET MOON, it's on RITI and it's also in trio setting (the one that DICKEY calls AHXOLOXHA - a palyndrome who seems to come right from JULIO CORTAZAR books.) The third part of the trio is the guitarist JOE MORRIS. Never like much the guy but he is ok and a little bit more than that, here. It's from 2000.

The sound quality of PEACE/ PACE/ PAIX is also a blessing. I use this one to test HIFI (among few others to whom I've already name one on this thread) and see how the high register (who can be on some system a bit hard to the ear) is restitute. In less glorifying sound, I highly recommand, anyway, this ANDRE JAUME CD on CELP: GIACOBAZZI: AUTOUR DE LA RADE. A strange title for a stunning free jazz date in trio (again) from 1992, with Barry ALTSCHUL on drums and BARRE PHILLIPS on bass who is not the worst rythm section that you can pick for this kind of session. The playing is at the level of the expectations that the names of these three musicians rise. ALTSCHUL, alas, has never plays better since and PHILLIPS demonstrates that he is one of the five greatest bass players currently alive. Each players have bring one or two compositions, there is one from Joe McPhee (ELEUTHERA) and three freely improvise titles who will leave you breathless (RENDEZ-VOUS A MAYOL, who close the record is the hightlight of the record). JAUME, on teno sax and bass clarinet is here at the top of his talent. To my taste, his best record ever.

BALADE DU 10 MARS is indeed a very good album. But the best SOLAL record from the last ten years is TRIANGLE on JMS with PETER ERSKINE on drums and MARC JOHNSON on bass. It's from 1995 and SOLAL plays only his compositions (some new: ROUND ABOUT TWELVE, A NIGHT IN VENESIA, TRIANGLE, some not: ANATHEME.) All are excellents and full of humour - SOLAL is, to my knowledge, in straight jazz, the only pianist that can be humourous in his playing without lost any of his chop.

Effectively, I bought a duo between HANS KOCH (bass cl, soprano sax) & BERTRAND DENZLER (tenor sax) called ASYMETRIES, on the label ACTUELLE from QUEBEC (www.actuelledcd.com). Interesting noisy records (sound like could sound a DONEDA/ FUCHS encounter.) For the "dashittiest" (what that mean?) bass clarinet player I don't know. I continued to prefered RUDI MAHALL (the most "dolphiesque" clarinette player today, for sure) and my man the mighty unknow (he plays with the LONDON IMPROVISER ORCHESTRA at every FREEDOM OF THE CITY meeting since 2001 nevertheless) JACQUES FOSCHIA. Well, BARRY GUY is a big fish with a HUGE disco. I don't like throw titles without some explanations and I don't have too much time to spend on that for the moment. I try to bring you some (ahem) ligth this weekend, if I can.

More RECOMMANDED ZYX: THELONIOUS MONK: ALONE IN SAN FRANCISCO BRILLANT CORNERS MONK'S MUSIC WITH JOHN COLTRANE JOHN COLTRANE: SOULTRANE ERIC DOLPHY: FAR CRY

I like BENEDETTI-MICHELANGELI versions. I like also SAMSON FRANÇOIS, ALDO CICCOLINI & CLAUDIO ARRAU in this repertoire (I don't know JACOBS or ZIMMERMANN and I don't like IMMERSEEL.) Other recommendation is ALICE ADER on PIANOVOX: PRELUDES LIVRE I & JEUX (PIANOVOX - distribute worlwide by SONY) PRELUDES LIVRE II, CHILDREN CORNERS & ELEGIE (PIANOVOX) But if you want just one version of the PRELUDES, JEAN-YVES THIBAUDET is the one to consider: beautiful playing and very good sound quality.