P.L.M

TSAHAR, when arriving on the scene plays with lot of free jazz "clichés." I've seen him play with some friends in the North of France and he sounded terrible. And was terribly lost confronted to people who was improvising freely with no reference to jazz or even fre jazz. But he has slowly improved. After that, I've catch him something like two years ago playing with the late PETER KOWALD and HAMID DRAKE. It was evident that the guy was a better player since when I heard him the first time even if the rythm section overwhelm him time to time. I bought at this concert (from him) DEALS, IDEAS & IDEALS with KOWALD and RASHIED ALI. TSAHAR is very much okay on it. I bought also HOME COOKIN' who is pretty fair. But it's the drumming of SUZIE IBARRA who is the real deal on this one. I've seen him for the third time, in November, last year, with COOPER-MOORE for a splendid duo. Seems the guy has change for the best musicaly and as human being. He plays well and seems to had go away from his dated free jazz licks. And he was also quite charming as a person (what he wasn't when I meet him the previous time.) I'm looking for his record with COOPER-MOORE (who is both, a great guy and a fine musician and incredibly talkative) who, I hope, will be at the same level than the concert. Give him another shoot, Nate, you'll never know. As Malaby is concern. The guy is ok. But I like him better on other peoples records that on his own. The best thing he has done so far, for me, it's his playing on MARK HELIAS' OPEN LOOSE: NEW SCHOOL. I'm waiting for the other FINN impatiently. But THREE records in the same setting with nearly the same musicians?

Not yet, but I'm waiting for some JON JANG albums where FRANCIS WONG is feature. I'm going to explore soon this asian/american connexion.

MARCO ENEIDI is an alto sax player whose sound remind me of Ornette Coleman even if he has been his own man from quite a time now. He was a friend and partner of the late GLEN SPEARMAN and plays in the new (?) quintet of WILLIAM PARKER, along with ROB BROWN. He has made some very good album on his own label (the name escape to me right now) and a great trio on EREMITE called CHERRY BOX with WILLIAM PARKER & DONALD ROBINSON. Check also the album of ROBINSON on CIMP, STRAIGHT LINES SKEWED where he plays fluently besides the drummer and the bassist, LISLE ELLIS. LISLE ELLIS has been the partner of pianist PAUL PLIMLEY during a long period. They recorded together a beautiful album dedicated to Ornette Coleman untitled KALEIDOSCOPES on hat ART in 1992, where they cover his songbook. He has played, among others, with JOE McPHEE (cf. SWEET FREEDOM - NOW WHAT on hat ART, featuring PAUL PLIMLEY.) I know only one album under his name, but a great one, CHILDREN IN PERIL SUITE on MUSIC & ARTS. It's from 1997 and you find on it the usuel suspects, JOE MCPHEE and MARCO ENEIDI and also pianist DANA REASON and multi-instrumentalist, PETER APFELBAUM. Like you can see, it's all in the family. I know nothing about PETER VALSAMIS. But, frankly, I think that you have a good to great show coming your way.

[quote=Nate Dorward I share your enthusiasm for the disc. But "groundbreaking"? It's in the classic free-jazz tenor/bass/drums mould, Finn playing in a late-Trane/Ayler vein. He has a great big sound which I like. Anyway, I wouldn't call it groundbreaking, but it's definitely one for fans of good blowing. Interesting to read in the liners that he was a student of JR Monterose's. I look forward to hearing more from Finn.

So I assume sound-wise it's better than majority of the CIMP releases? Hum, my mystake, here. It has been release on CADENCE. But a CIMP one will come soon. The sound of CIMP is a matter of test. Some records work well, some not. But there's some evolution since the two last years (I supposed thar Rush Jr has improved.) Check the two Paul Dunmall, for instance. They really sound great (and the second one is as good as the first, as I just finish to listen to. Even the bagpipe sequence was fine.)

Some was greats, some was not... ERROLL GARNER CHARLES MINGUS DANNY RICHMOND CHARLES McPHERSON MICHEL PORTAL PIERRE FAVRE JOHN McLAUGHLIN BILLY COBHAM TONY WILLIAMS ART BLAKEY RON CARTER FREDDIE HUBBARD JOE FARREL DIZZY GILLESPIE PAUL BLEY MARION BROWN STEVE McCALL ZOOT SIMS EDWARD VESALA MAL WALDRON RAHSAAN ROLAND KIRK JOE HENDERSON ARCHIE SHEPP BEAVER HARRIS DAVIS S. WARE CECIL TAYLOR SUN RA DEXTER GORDON YUSEF LATEEF MILES DAVIS KENNY GARRETT GIL EVANS ART PEPPER PETER BRÖZTMANN EVAN PARKER PETER KOWALD STEVE LACY STEVE POTTS CLIFFORD THORNTON HENRY TEXIER HENRY THREADGILL FRED ANDERSON HANK DRAKE then HAMID DRAKE JIMMY LYONS DAVID MURRAY BRANDFORD MARSALIS REGGIE WORKMAN SONNY ROLLINS ALAN SHORTER WAYNE SHORTER DON CHERRY ORNETTE COLEMAN CHARLIE HADEN BILLY HIGGINS ED BLACKWELL JAY JAY JOHNSON BUSTER WILLIAMS VICTOR LEWIS LEO SMITH JOHN FADDIS ELVIN JONES McCOY TYNER SUNNY MURRAY ODEAN POPE ANTHONY BRAXTON FRED VAN HOVE GEORGE LEWIS ART ENSEMBLE OF CHICAGO ROSCOE MITCHELL JULIUS HEMPHILL OLIVER LAKE THE WORLD SAXOPHONE QUARTET MILFORD GRAVES JACK DEJOHNETTE CHICO FREEMAN SAM RIVERS TONY OXLEY PAUL LYTTON PAUL LOVENS TOMAS LEHN JOHN EDWARDS JOHN BUTCHER MARK SANDERS WILLIAM PARKER ASSIF TSAHAR ALEXANDER VON SCHLIPPENBACH LOUIS SCLAVIS JOHN SCOFIELD CHARLES LlOYD RANDY BRECKER GARY PEACOCK BENNY WALLACE PHAROAH SANDERS FRANK WRIGHT KENNY WHEELER PHIL WOODS OLIVER LAKE MISHA MENGELBERG JOHN ZORN DAVE DOUGLAS JOEY BARON MASADA LOUIS MOHOLO JOHNNY DYANY PAUL RUTHERFORD DEREK BAILEY BROTHERHOOD OF BREATH WILLEM BREUKER HAN BENNINK LEE KONITZ MARTIAL SOLAL MICHEL GODARD TOM HARRELL PHILIP CATHERINE ANDRE JAUME JOE McPHEE ALDO ROMANO ANDRE GOUDBECK MICHEL DONEDA LE QUAN NINH CONRAD BAUER PAUL HUBWEBER FRANK GRATKOWSKI KEN CARTER RICHARD TETELBAUM EDDIE PREVOST KEITH ROWE MUSICA ELECTRONICA VIVA GEORGE ADAMS DON PULLEN CAMERON BROWN BARRE PHILLIPS GÜNTER SOMMER KEN VANDERMARK MATTS GUSTAFSSON TIM BERNE BOB BERG GARY BURTON GEORGE COLEMAN MATTHEW SHIPP TOM RAINEY BARRY GUY HERBIE HANCOCK ROY HAYNES JASON MORAN LEW TABACKIN CECIL McBEE PHEEROAN AK LAAF BRAD MELDHAU KEITH JARRETT JAMES CARTER DEWEY REDMAN JOSHUA REDMAN KAHIL EL'ZABAR LESTER BOWIE BILLY BANG PAUL MOTIAN JOHN SURMAN JOE LOVANO BILL FRISELL JOE DALEY LENNY POPKIN CONNIE CROTHERS CAMERON BROWN GERRY MULLIGAN CHET BAKER GEORG GRÄWE VERYAN WESTON ERNIE WATTS BURTON GREENE AL FOSTER SONNY SIMMONS PRINCE LASHA JOHNNY GRIFFIN EDDIE GOMEZ MIROSLAV VITOUS BOBBY WATSON JEFF TAIN WATTS TREVOR WATTS GERY ALLEN ROVA BARRY ALTSCHUL TOMASZ STANKO BOBO STENSON ALAN SILVA ANDREW CYRILLE ABDULLAH IBRAHIM KHAN JAMAL DAVE BURRELL MARILYN CRISPELL JOELLE LEANDRE GERRY HEMINGWAY MARK HELIAS STEPHAN GRAPPELLI JEAN-LUC PONTY PAUL DUNMALL ELTON DEAN LOL COXHILL ANDREW HILL BORAH BERGMAN DAVE LIEBMAN MARK COPLAND LEROY JENKINS DAUNIK LAZRO ARTHUR BLYTHE THE LEADERS KIRK LIGHTSEY KEITH & JULIE TIPPETT LONDON IMPROVISERS ORCHESTRA LONDON JAZZ COMPOSERS ORCHESTRA THE GLOBE UNITY JOE LOVANO BILLY HART FRANK LOWE RAPHE MALIK MICHAEL MARCUS CHICAGO UNDREGROUND DUO, TRIO CEDAR WALTON NHOP RAYMOND BONY PAUL MOTIAN KEVIN NORTON PAUL RODGERS GEORGE CABLES HORACE PARLAN ENRICO RAVA SIEGFRIED KESSLER CLIFFORD JARVIS STEVE COLEMAN DAVE HOLLAND FRANÇOIS CORNELOUP YVES ROBERT MARC DUCRET LE WORKSHOP DE LYON AGUSTI FERNANDEZ JOHN STUBBLEFIELD JERRY GONZALES (AND FORT APACHE) DOUGLAS EWART AHMAD JAMAL BOBBY FEW JOHN BETSCH JEAN-JACQUES AVENELL CLIFFORD JORDAN FRED HOPKINS STANLEY CLARKE NOA HOWARD SIRONE MARC EDWARDS JAMES "BLOOD" ULMER AKA MOON STEVE BERESFORD and...

Well, long live to Martin Pearson, then! Is Switzerland a country to be taken seriously, now? Seems so, as they get the two best labels of free and improv. music and two of the best sound engineer currently in the bizness (the other is, of course, is Peter Pfister who is also THE master of the remastering), only leave slightly behind (a bit of nationalisme, here) by the French Gérard de Haro (The guy who recorded and remastered all the SKETCH and EMOUVANCE records, among others.) And since they have artits like Daniel Humair, Pierre Favre, Irène Schweizer, Urs Leimgruber, Sylvie Courtois, you name it. Just get a batch of new realese from CIMP and CADENCE. PAUL DUNMALL - PAUL ROGERS - KEVIN NORTON: GO FOR DUCK (CIMP) A follow up of Ryckolickum. Hope is as good. Not yet listen to WILLIAM GAGLIARDI QUINTET: HEAR AND NOW (CIMP) Second volume of the session who gave NHLAHLA. I have to listen to both as I got the twin also. HARRIS EISENSTAD QUINTET: JALOLU (CIMP) Not yet listen to. JAZZ COMPOSER ALLIANCE ORCHESTRA: CELEBRATION OF THE SPIRIT (CIMP) What an original title! 21 pieces band. Not yet listen to. KEVIN'S NORTON LIVING LANGUAGE: INTUITIVE STRUCTURES (Cadence) In quartet with Tomas Ulrich, John Lindberg and the great and underestimate Louie Belogenis (a former companion of Rashied Ali.) I've listen to that one. And it's a good album (maybe even better than that, must try it again) recorded live on November 2002 at the Knitting Factory. Louie Belogenis is the man here, with, of course, his leader (who plays more and more vibraphone (what is a good thing.) JAMES FINN: OPENING GATES (CIMP) A trio leading by this unknow tenor sax back by the inevitable Mr Dominic Duval (I like the guy, thought) and Whit Dickey. An absolute groundbreaking record. James Finn, while standing in the line of the free jazz more than the improv. one, have it all, sound, furry and the rest. Bob Rush says that he received this as a demo and find it so astonishing that he has decided to publish it. One the main records of 2004 for me, without no doubt. RED SNAPPER: PAUL MURPHY AT CBS (Cadence) A quintet lead (?) by Paul Murphy and composed of Jimmy Lyons, Dewey Johnson, Karen Borca and Mary Ann Driscoll Not yet listen to it, but it can be another valuable addition to the slim disco of Lyons (even if the lenght of the tracks is rather funny: only one is over 5 minutes, the duration of rest of the 18 other cuts goes from 1:13 to 4:00.) It's recorded in studio!

If NAILED is for the extremist Cecil Taylor completist (and slowly by slowly I've start to be one), CELEBRATED BLAZON (in trio), yes, can be an adequate place to start for somebody who "avoided his post 1950 stuff." But be aware than no Cecil Taylor has ever been easy stuff. I think that THE WILLISAU CONCERT is also a possible way to get to the man and his music. He is very well recorded here, and play on the BEST piano he has maybe ever encounter! INDENT and SILENT TONGUES is worth considering also (the later in his 24 bits re-realised by Da-Music, far superior to the original Freedom for the same middle-price.) They are, both master pieces, and not so hard on the hear either. FOR OLIM (who is not one of my favorite, but...) with his short pieces (the longer is around 18 minutes, some don't go further than few minutes), could be also a solution. All these are in solo. Aniway, I think than, in its REVENANT version with its fair sound (avoid the unlistenable Black Lion one, called TRANCE), NEFERTITI, THE BEAUTIFUL ONE HAS COME, for me, is the most important record (if not the best) than Cecil Taylor has ever done. I didn't know that it was considered as OOP. But I remember have seen it on one site or another. It surely could be find.

What kind of sound system do you have now, David? If you (or somebody else) want absolutely an out of print hatOLOGY, like "Rara Avis", by exemple, I can brn. you a cp, if you see what I mean. But if you want the record himself, well, that another story.

I bought this one directly from VANDERMARK some weeks ago with his other recent release, FREE FALL: FURNACE. I find GAMBIT so,so. Nothing here really to keep your attention awake and the sound qualityy is just average. The FREE FALL is in another category. Not only an hommage to the GIUFFRE/ BLEY/ SWALLOW trio but a real reworking of the idiom from a contemporary point of view. Of course, BLEY/ PARKER/ PHILLIPS with TIME WILL TELL and SANKT GEROLD continued to be, for me, the best contemporary version of the mighty original trio, what is quite understandable as one third of it is leading the way. But the VANDERMARK'S FREE FALL is a remarkable effort worth to listen to.

Yeah, BIRTH AND REBIRTH (on BLACK SAINT) is a magisterial record, as is the follow up on hat ART (long out of print). But the guy was asking for duets between tenor and drums. So I kept it that way.

Chuck is it a nice poetic way to formulate the title of this song or a split of tongue of some sort? (the title of this tune from the SONNY ROLLINS NEWK'S TIME is THE SURREY WITH THE FRINGE ON TOP.) I thought Chuck's interpretation was rather funny... Me too.

And, if you want to try one more record with a sax and two drummers beside OCHS & DRUMMING CORE, there's always KEN VANDERMARK'S SOUND IN ACTION: DESIGN IN TIME (DELMARK). It's one of the best records of VANDERMARK who confront here ROBERT BARRY (original drummer of SUN RA'S ARKESTRA) and TIM MULVENNA. 11 pieces split between originals and modern classics from ORNETTE COLEMAN, SUN RA, ALBERT AYLER, DON CHERRY, THELONIOUS MONK.

Some more recommandations. THE NEXTSPIRITMENTAL MUSICS OF SAXOPHONIST DAVID BOYKIN (DREAMTIME RECORDS) offers a serie of duets between the tenor saxophoniste from Chicago and BAKARI DAVIS on drums and percussion in the tradition of the GREAT BLACK MUSIC initiate by the AACM. If you like ARCHIE SHEPP, this one is for you. You can also try: SUZIE IBARRA/ ASSIF TSAHAR: HOME COOKING (HOPSCOTCH) HAMID DRAKE/ JOE McPHEE: EMANCIPATION PROCLAMATION (A REAL STATEMENT OF FREEDOM) (OKKADISK) JOE McPHEE/ JOHNNY McLELLAN: GRAND MARQUIS (BOXHOLDER) (An absolute masterpiece!!!) RASHIED ALI/ LOUIE BELOGENIS: RINGS OF SATURN (KNITTING FACTORY) who is a direct "hommage" to COLTRANE by the disciple and a great but much underestimate coltranite. If you want to take the hard way, look for both of these: PAAL NILSSEN-LOVE/ MATS GUSTAFSSON: I LOVE IT WHEN YOU SNORE (SMALLTOWN SUPERSOUND) IVO PERELMAN/ JAY ROSEN: THE HAMMER (LEO RECORDS)

Chuck is it a nice poetic way to formulate the title of this song or a split of tongue of some sort? (the title of this tune from the SONNY ROLLINS NEWK'S TIME is THE SURREY WITH THE FRINGE ON TOP.)

The exact title of the session is LARRY OCHS SAX & DRUMMING CORE (name of the band) THE NEON TRUTH (title of the record). LARRY OCHS plays tenor & sopranino saxes. The drummers are DONALD ROBINSON & SCOTT AMENDOLA. It's from 2002, on Black Saint, indeed.

About PAUL BLEY. I've seen him two and half years ago, in Brussels. It's when I discover than the man could hardly walk anymore, going to his piano, one very small step after another. It was surprising because I never heard anything about his health. His playing was great (much more than three days ago) but he didn't play more than 50 minutes and NEVER touch the pedals of the instrument. So, at the end of every piece he lets the last note resound until it died. This time it was worst. He has lot difficulties, even with help, to climb on the small stage (20 cm high) and couldn't find a way to sit properly during the first piece he plays. So, after he finished it (he plays during ten minutes) he has lived the stage asking than somebody put on his sit two phonebooks. He didn't return before a quarter. It's only at this moment than the concert start for real, but the music played sound to me rather mecanic. Paul Bley be mecanic! It's a qualificatif who fit better Oscar Peterson. After he plays/improvises three others pieces (duration, 30 minures), he lived the stage again (still with great difficulties.) It's only when he returns for an "encore" than the concert really start. He plays a meddley (CONFIRMATION, ALL THE THINGS YOU ARE and something else than I didn't identified) and another beautiful impro. This 15 minutes who show the man at his best was comforting. But to watch a man, who hasn't yet reach his 72, try to walk his way to the piano or away from it was, in contrast, really heartbreaking.. It's seems than obviously, Paul Bley got some (cerebral?) problems years ago who have take from him most of his capacity to move.

Thanks all for the answers. I've listen to all of them by now. And, in their respective style, they are all good. I like the KEES HAZEVOET very much because I've seen this band (or more or less in the same setting) during the glorious seventies at the Palais des beaux-Arts, here in Brussels, where every two/three weeks was programmed a concert of free/improv. music (the programmateur was - and his - a friend). It's where I started to like and know about this music. The years 1975/76/77/78 was years where I really get into this music between the concerts we could see in Brussels and some festivals, the most important of this festivals been MOERS. SOUND HIERARCHY is a pretty good PERELMAN (my number nine of him so far) and CRISPELL is great as (most) usual with her (David what your problems with CRISPELL? You know, she sounds pretty good on DESTINY) But, obviously, the best of the bunch is the FRODE GJERSTAD AND PETER BRÖTZMANN/ INVISIBLE TOUCH. (It's a live recording from Café Sting, Stavanger, Norway, from july 1998). Both man are in outstanding form. GJERSTAD is not in the same league than BRÖ but he is a valuable freebopper. There is some great blowing from both (BRÖTZMANN on tenor, clarinet, tarogato) and they really fit together very well. By the way GJERSTAD has a new record on Cadence where he pairs with JOHN EDWARDS & MARK SANDERS (THE WELSH CHAPEL) who is the best I've ever heard from him beside his collaborations with BRÖTZMANN. The ROLAND KIRK is also good even I'm not much fan of his larger band (but his use of "electronic strings", with his "dated" sound is pretty fun) and also less interesting by his soul/jazz period. The concert DOUGLAS/ MENGELBERG was one of the best I've seen this last months, full of humour and really great music. I'm not either a fan of DOUGLAS (don't like much his records and remember to have hate one of his CHARM OF A NIGHT SKY concerts). But when the man is out of his too well definite sphere, you are oblige to recognize that he is a GREAT trumpet player. MENGELBERG try to push him off his limit and out of track few times but DOUGLAS was always responding with lot of "à propos" to all the provocations of the pianist. Lot of humour all over and I love MENGELBERG (particularly when he plays and deconstructed some standard or got in his MONK's craze). All of the concerts I've seen of him from three decades, and in all of the possible setting, have always been FUN to me. I've got yesterday a CD duet of BERTRAND DENZLER/ HANS KOCH ASYMETRIES from the Quebec's label www.actuelledcd.com. Not heard yet (it has been recorded in 2001 and realised last year.) Comments on this? David, concerning the VENTRILOQUIST from PERELMAN'S (feat. SCLAVIS), as Dorward says. Indeed, the tracks with WODRASCKA are the best. I just regret than PERELMAN doesn't give her more space for her solos. CHRISTINE WODRASCKA is the most interesting french pianist I've ever heard in the field of IMPRO. Much much better than DELBECQ, AGNEL, DOMANCHIC, BOZAN Z. or what ever. Somebody to follow absolutely.

Went to see Paul Bley last night (good concert but not outstanding - Bley is a man in very very bad physical shape. I will report later) but come back with a bunch of records who has not much to see with the great pianist. - RAHSAAN ROLAND KIRK: BLACKNUSS (ATLANTIC) - RANDY WESTON: BERKSHIRE BLUES (BLACK LION) - THE IVO PERELMAN QUARTET: SOUND HIERARCHY (MUSIC & ARTS) - FRODE GJERSTAD AND PETER BRÖTZMANN: INVISIBLE TOUCH (CADENCE) - HAAZZ & COMPANY: UNLAWFUL NOISE - KGB 7076 (ATAVISTIC/UMS) - This one feature Kees Hazevoet, Peter Bennink, Peter Brôtzmann, Han Bennink, Johnny Dyani, Louis Moholo and it's a reedition from the neederland KGB label (?!) Any comment?

UBU, MUJICIAN III exists only as a CD. David, I hope you'll have a good concert. Myself, tonight I'm going to see PAUL BLEY in solo somewhere near the Neederland border. I hope PB will be in better physical shape than two years ago when I saw him in Brussel. Thursday night, if I can find a lift, I'll try to go back to the same place to see MISHA MENGELBERG & DAVE DOUGLAS in duo.

I have three out of four of this GROSSMAN (TRIO IN REAL TIME, and the two HATOLOGY). All are funtastics but my favorite is the 9 Winds one. The guy died too early in 1992. Another unsung heroes of the avant-garde piano.

Ubu I have the two MUJICIANS in LPs (SAJ 37 & SAJ 55) so, I can't say nothing about the sound of the CD. I don't remember anything like that with them. But I will check to be sure. No, you don't have all the LPs on the CD. The titles are the same, but DAN SING MUSIC/ SECOND PART is shorter on the CD. His lenght is 22'13 on the MUJICIAN LP (so, it's around 12 minutes more than on the CD) and the closing I HEAR YOUR VOICE AGAIN is 20'13 on the MUJICIAN II LP. Yes, to my hear, MUJICIAN III is as good as the I/II. The exact date are what you guess. For the applause, I must check also, but as the final track is shorter on the CD and they have done some editing it's surely not the same thing on the LP & on the CD. But, UBU, as the LPs doesn't exist anymore (it's possible, of course, to find them in second hand shops or that sort of things), CD his the only possibilty if you want hear the music. So nothing to regret here, except if you have buy a default copy. Two anecdotes, here: Tipped was not publish directly on FMP because only the members of the collective (founded by Gebers, Brötzmann, Kowald and Schlippenbach) was publish under the FMP label for legal reason. The musicians who wasn't members was publish on SAJ - I don't know what the three letters mean - and copyrighted by FMP. The producer was always Jost Gebers. I think than that distinction disappeared when they passed from the LP to CD around 88-89. When Gebers has left FMP in 2000, he has taken with him all the early tapes from FMP because they was his legal property has he has recorded the musicians and bought the tapes with his own money. It's the reason than Atavistic reprint this early music in the UMS serie as Gebers and Corbett as make a deal about this material.

UBU I like the guy very much, if I may judge by the TWO records that I have of him ( BODY LIMITS: SOLO FOR ALTO SAXOPHONE and, courtesy of David, ARCANA MAJOR/ SONIC TAROTS SESSION.) Aniway, he is maybe DA SHIT but none of his two solos rec. outclasses Braxton, Parker or even Joe McPhee in this exercice IMO. His two discs are really excellent but they are not touching the level that the master himself (I mean Braxton) has reach in his solos. FOR ALTO (Delmark) or ALTO SAXOPHONE IMPROVISATIONS (Arista) (just to named this two gems) stand still ahead of Gebbia's own. When listening to both you can easily guess that he has been influence a lot by Braxton even if his tone comes right from Ornette Coleman (so many influences to be digested here). ARCANA MAJOR is more diverse and interesting than BODY LIMITS who is more on the performance level (but at this game I prefered Evan Parker and, no, MONOCEROS is not monotonous, better give him another listening, David.) So, there is lot of promise in Gebbia but a limited accomplishment for the moment in his works. And he has also to proove that he can play at the same level than his solos when associates with others. I didn't kept CAPPUCCINI KLANG, bought some years ago for Kowald first, and without knowing Gebbia, because I thought the record lacked consistency. I'm not sure that the others trio or quartet he has recorded are much better than this one. And, no he is not self-sufficient as his number one supporter (guess to whom I'm talking here) thinks and professes (yuk, yuk!). Making a carreer as a solo player only, IMO, won't drive him nowhere on the long run, by the way. So GEBBIA will be (maybe) one of the great in the future, but he has some way to go before he can be considered the equal of the masters I named here.

It's one of the very first Cd I bought, back in 87 or 88. But in different print made by CARRERE for CONTEMPORARY to be be distributed in France. As the complete session between them this didn't exist as an LP, so, this CD seems to be a must to have. But, curiously, I never warm much to this session. I'm not certain than this two was really compatible. I bought ... THE WAY IT WAS sometimes after as an LP and I was interesting better by the second side with his takes comming from different previous session.

I ask once to a friend who knows Sinesio and the story behind Horo the same question. He answers these: "Sinesio doesn't own the copyright of the quasi totality of the records he has published on Horo. It's the reason why they don't make it to CD. Nearly all has been recorded by the RAI where Sinesio worked as a producer. This means than most of the Horo's LP was bootlegs or semi-bootlegs what forbidde them to reappear on another support right now because this session where produced to be broadcast by the Rai. Not edited on LP. Horo wasn't much different from Byg. The only difference is that Byg had a contract with the musicians they recorded even if they never respected any of these contracts. Sinesio and Horo has none of that."