P.L.M

Claude, the titles I listed are 20 bits remastering. But, aniway, this ZYX are really not friendly CD. You can't take one without leave on your finger prints all over it. And the identification on the spine is written from top to bottom sometimes, from bottom to top some other times.

One more in the RECOMMANDED section: ART PEPPER: MEETS THE RYTHM SECTION Also from a Fantasy master.

Yeah? PILGRIMAGE is not good? And why that? I find him to my taste. Your young ears have still to travell a long way. And, with time, you will finely discover than that record doesn't "suck", to use the language of your, oh so young, generation. And please don't get sacarstic with this old ears. They are still working a bit. By the way, have you or have you not get somme GOOD HIFI material? I really like to know.

Okay, back to bussiness. I just got the records from JON JANG & FRANCIS WONG. JON JANG: TWO FLAWERS ON A STEM (SOUL NOTE) FRANCIS WONG: PILGRIMAGE (MUSIC & ARTS) Not very recent (respectively from 95 & 97) but so far so good.

My god, I've never realise that you where so young. Well, never thought you could be, hmm... my sons.

More addition to the RECOMMANDED/ AVOID lists, but this one is a bit schyzophrenic (don't know if this word is correctly spelling.) RECOMMANDED list: ERIC DOLPHY: LIVE AT THE FIVE SPOT VOL.1 (from a Fantasy master) The sound is very precise with lot of dynamic. Very closed to the LPs I own (european edition.) AVOID list: ERIC DOLPHY: LIVE AT THE FIVE SPOT VOL.2 (from ZYX fancy remastering) Muddy from the beginning to the end. No dynamic. Sound like a bad bootleg recording. NB: LIVE AT THE FIVE SPOT VOL.1 doesn't have the BEE VAMP alternate.

Well, I got some explanation about what happened to BRAXTON in Vienna and why he was in such condition in Leut (Belgium.) When He arrived in Vienna he had toothache who turn in somekind of dental abcess during the concert who forbid him to sleep most of that night. When he arrives in Brussels, his manager here in Europe (Rob Leurentop) takes him to a dentist who have solve the problem. But, when he gave his concert (who was excellent), he still feels the pain and he was under medicament and had very little hours of sleep from the last 48 hours. That's the reason he was so tired after the concert. But everybody who knows BRAXTON, knows also that he has never care much about his health (eating bad food and that kind of thing) and got some big hart problems, like ten years ago. So, to see him in such bad condition with, on the moment, no explanation why was quite disturbing.

CHUCK NESSA. I've told yesterday to Braxton that you try to contact him about the WARNE MARSH CD. I post this here because I can't find the BRAXTON thread. The concert was great (he plays, as an encore, EVIDENCE) but BRAXTON is in bad physical shape. He was oblige to interrupt his Vienna's concert the previous day as he feels sick on stage. He was dead tired after this one (where he plays generously around 1h20.) So, I just spoke with him less than a minute. I'm not sure he will remember what I've said. I'm really worried about his health, as I've never seen him before in such bad condition.

The CD we are discussing here just says: JIMMY GIUFFRE, SAXOPHONE. To my knowledge, JIMMY GIUFFRE has never play alto saxophone (clarinet, tenor, baryton, flute and, later, soprano.)

I must add also, in defence of this serie that the sound quality is of the highest order (due to the remastering in 24/96.) Just compare MOTION from LEE KONITZ with its early CD version, there's no match. Too bad that they didn't fill it with the bonus tracks who was on this early version. It obliges me to keep it. And it takes a precious place where place is nedeed.

I own the LP of EASY WAY beside the CD (french issue from beginning of the eighties.) The back cover of the CD is not the exact reproduction of the back cover of this LP (who, itself, I guess is certainly not the reproduction of the original US.) On the LP, the line where they list the personnel & instrument state precisely that JIMMY GIUFFRE, plays tenor saxophone AND CLARINET and also that the session took place in NEW YORK CITY, AUGUST 6-7, 1959. In fact GIUFFRE plays clarinet on every track except CAREFUL, RAY'S TIME and TIME ENOUGH where he plays tenor.

ADAM'S APPLE closely follows by SPEAK NO EVIL, JUJU and ETCETERA. Never like SCHIZOPHRENIA much.

I will answer for Claude. My copy, bought here in Europe, has liner note but this liner not consist in the reprinting in big caractere of the back cover of the CD and nothing more. So, no big deal if you don't get that as long as you have a good lens!

Agreed. Particularly the 52 session. Both are reunited on the album NOW'S THE TIME who is, I think, still available in his Japanese version THE GENIUS OF CHARLIE PARKER#3: NOW'S THE TIMES/ THE QUARTET OF CHARLIE PARKER (VERVE - JAPAN)

The problem is in situ stuff is impossible to find. P.L.M., have you heard Zingaro/Lazro duo on Potlatch? - this one is mesmerizing -I haven't heard anything like this... Try www.fnac.com (or fr) They sell it once. I know the POTLATCH and like it a lot but, to me, the mesmerizing session is these one, on IN SITU. It's the first Zingaro I've ever heard, maybe it's the reason why (+ the pristine sound quality.)

You sound very indulgent Nate. I like NORTON very much and I find BELOGENIS to be a very good post-Coltrane tenor (I listen often to his duet with RASHIED ALI, RINGS OF SATURN who is his best record to date), but this INTUITIVE STRUCTURE is fairly a routine to my ear and one to which I'm sure I will certainly never go back. PAUL DUNMALL is much a "hit and miss" musician (but always a generous one.) I like him most with MUJICIAN (a great band who is underestimate, IMO) in which he is, beside Keith Tippett, the driving force.

Let us know what you think of this one - ubu and I have been enjoying it a lot. Just see PEGGY LEE Monday with LARRY OCHS and MIYA MASAOKA in concert. They play great music, mostly comming from their new CD on INTAKT (title?) with PEGGY LEE as a substitude to JOAN JEANRENAUD. If you like WESTERN FRONT, let me recommend you what I considere to be the best CARLOS ZINGARO: SOLO (undertitle is AVRIL 1989 MONASTERE DES JERONIMOS LISBONNE) on the label IN SITU. Thirteen pieces recorded in a fantastic acoustic (I always used this records, among few others, to test HIFI material) wit a ZINGARO at the pick of his talent and inspiration. Beautiful.

What to say? You hate it, I love it. Two different takes. And, I'm not trying to convince you on that matter, I just say that, IMO, I consider it like a masterpiece. You're free to disagree but the fact that you don't like it doesn't prove either that it's a bad record. AMG hates it, PENGUIN loves it and I suppose the guy who bought it from you, likes it, also. Well, let hear from the others on the subject. Question of the day: Do you like or do you hate GHOSTLY THOUGHTS? We're waiting anxiously your answer(s).

To each his own. But I'm not the only one to praise him. For me, one of the *GREAT* record of impro music/ free jazz of the last decade.

You're excuse for FIREBIRD and DEATH METAL doesn't count. But ODEAN POPE? That's a major "faute de goût" in my standard. I never succed to keep a record by or where the guy was feature. Big bright sound, certainly, but who lead him (and us) nowhere. Let's forget about that to go right to the right stuff. I've done my home work about some of the CADENCE & CIMP new batch that I receive. I'll start by recommended warmly PAUL MURPHY AT CBS: RED SNAPPER. Not so much for MURPHY himself - a decent drummer and, certainly, a man of taste, but not the most inventive I've heard from this era - but for the ELEVEN duets (on 19 pieces) he plays with the *GREAT* Jimmy Lyons on this one. This duets are short (from 1'32 to 4'47), incredibly intense, focus and, also, beautifully recorded. In fact, they work like a SUITE, much of it with some tiny differences (faster here, more articulate there.) Great stuff. The rest of the record is filling with Trios (usually piano, trumpet, drums), duets (without LYONS and, even, MURPHY like in REEDING ROOM who is a nice intercourse between the piano of MARY ANN DRISCOLL & the excellent bassoon of KAREN BORCA) and ONE drum solo whose lenght (the shortest tune of the entire session, 1'13) shows the humility of the nominal leader of the record. But the main interest of RED SNAPPER, as you have already understand, is these 11 LYONS/ MURPHY duets. If you like LYONS, it's one to have and a nice addition, after AYLER RECORDS' magnificent BOX SET, to the not so rich discography of JIMMY LYONS. Highly recommended like they say in the best review. The PAUL DUNMALL - PAUL ROGERS - KEVIN NORTON is as good as their previous CIMP, RYLICKOLUM: FOR YOUR PLEASURE what is quite normal as it has been recorded during the same session (19 May 03 for the first, 20 for the second.) So, if you didn't like the former, you can past your turn on GO FORTH DUCK. Personnally I'd liked very much RYLICKOLUM with his sensible interplay between the three musicians. The addition of KEVIN NORTON to the duet was a great idea. He is a drummer of great skill, intelligence and much delicacy (he plays remarkably with the difficult acoustic of the so-call SPIRIT ROOM) and he masters the vibes with lot of talent also. The quality of listenning between the three musicians is really impressive during all of this session. DUNMALL plays with lot of sensibility and balance in both record, never overblowing as he has been slam for and RODGERS is absolutely astonishing from start to finish with his A.I.L bass (a six strings bass + some "likeable" (?) strings) that he masters completely, now. He plays the instrument with the arco during most of both records, sounding much like cello. Even the (short) bagpipe's piece (a"border bagpipes", to be precise) than Dunmall plays in GO FOR DUCK is enjoyable with more folkish sound than usual. So, if you have none, get them both, if you have the first (and like it) GO FOR DUCK is from the same bag. - And Nate you should try one of these. It could change your take on DUNMALL, that you seems to so severly judge - okay HOUR GLASS was far to be the best record that DUNMALL has done, to say the least, but it's hard to dismisse the man on this one alone when he has done, IMO, some stunning masterpieces like GHOSTLY THOUGHTS or BEBOP STARBUST. For the moment, the only deceptive one is the KEVIN NORTON'S LIVING LANGUAGE: INTUITIVE STRUCTURE. Like I say, I like the drummer much. But this live session is absolutely borring from start to end althought NORTON has surrounded him with good to great musicians like LOUIE BELOGENIS, THOMAS ULRICH and JOHN LINDBERG. Simply said: nothing happens from the beginning to the end during this concert. Absolutely nothing. After few more listenning, JAMES FINN: OPENING GATES continues to grow on me. Not the most OUT record ever, but a great saxophonist to discover. Indeed, the one to get in priority (with the MURPHY as a close second.)

Hey, boys, where were you all that time? THE CRUX is old stuff from 1993! As good as GIANNI GEBBIA? That's not much encouraging to get it (something like a smiley, here.) Well, long time that I didn't listen to it. But I remember to have liked it a lot years ago. I will give it a refreshing listen soon. But if you're interesting in ROTHENBERG, one to get it's his duet with DENMAN MARONEY on CIMP (to those who fear CIMP sound of thruth, all the records who involved piano are NOT recorded in the Spirit Room.) TOOLS OF TRADE is the name. And it's a marvellous duet between an inventive pianist much in the contemporary style and the alto of Rothenberg at his highest.

The 6 of May, Anthony Braxton will be in Belgium to give a solo concert in a club near the Nederland border (Villain XIIII.) Will report, here, my impressions after.

Just for your information, behind DISCONFORME is hiding BLUE MOON who owns the much celebrated label FRESH SOUND.

I know (and like) the LESTER BOWIE/ PHILIP WILSON duets. But never heard about the other one, with CHARLES "BOBO" SHAW. So, to you to tell us how much is good or not. We're waiting King Ubu (the birthday party is over now)! Just two add (to a good list): there's some duet on EMANCIPATION PROCLAMATION by McPHEE and HAMID DRAKE. MCPHEE is on the pocket trumpet and switch instrument during pieces. On DREAM SEQUENCE, there's one duet between KENNY WHEELER & TONY LEVIN who is, with the solo that KENNY does also, the pic of an enjoyable album.

David, do you know the solo album of KEN KESSLER untitle BULL FIDDLE (or something like that) ? They sell it on Drimala's Bargain list for a fair price (six or seven dollars, something like that.)