P.L.M

I think he will not finish the race.

Sorry for the confusion, I don't speak a fluent english. In french you can use "record" (disque) for CD all the same.

It's clearly indicate "CD" at the beginningt of the post.

CD to sell (Fair Price) - Anthony Braxton : « Seven Compositions (TRIO) 1989 » (hat Art not hatOLOGY) 8$ - Jim Black AlasNoAxis : « Houseplant » (Winter & Winter) 9$ (new) - John Carter & Bobby Bradford’s New Art Jazz Ensemble : « Seeking » (hat Art not hatOLOGY) 8$ - Lawrence Casserley/ Adam Linson : « Integument » (psi) 9$ (new) (impro electronic + double bass) - Anthony Cox : « That & This » (Sketch) 8$ (solo double bass) - Benoit Delbecq Unit (Mark Turner, Mark Elias) : « Phonetics » (Songlines/ SACD) 9$ - Paul Dunmall/ J-M Van Schouwburg/ Philip Gibbs/ Peter Brand : « Bionic Beings’ Beginnings » (Duns Limited Editions 061) (CDR) 9$ (new) (Dunmall & guitarist Philip Gibbs improvise with a belgium vocalist) - James Finn Trio : « Faith in a Seed » (CIMP) 6$ - Simon Goubert : « Background » (Le Chant du monde) 9$ (new) (french drummer with Manu Codija, Sophia Domanchich)) - Grenier/ Roder/ Thewes : « Squakk » (Jazzwerkstratt) 9$ (new) (German New Wave) - Jon Hassell : « Last night the came dropping its clothes in the street » 9$ (ECM) (new) (electro-jazz) - Makiko Hirabayashi (Feat. Marilyn Mazur) : « Hide & Seek » (Enja) (new) (trio in the Bill Evans trad.) - Elvin Jones : « Elvin ! » (Riverside/ Collector Choice) 6$ - Hans Koch/ Martin Schütz/ Marco Kappeli : « Acceleration » (ECM) 8$ - Eric Legnini Trio : « Trippin’ » (Discograph) 9$ (new) (trio ion the Bill Evans trad) - Rudresh Mahanthappa : « Codebook » (Pi) 9$ - Brandford Marsalis Quartet : « Metamorphosen » (Marsalis Music) 9$ (new) - Cecil McBee : « Alternate Spaces » (India Navigation) 8$ (feat. ) - Thelonious Monk : « Criss-Cross » (Columbia/ Jazz Originals Series) 5$ (european edition) - Jeff Neve Trio : « Soul In A Picture » (Universal) 12$ (double album) (one of the best young european pianist in trio setting – it’s best album) - New (Steve Noble/ John Edwards/ Alex Ward) : « Dead Eye Tricksters » (Bo’Weavil » 9$ (New) (an astonishing jazz power trio - Ward plays only guitar here) - Jeremy Pelt : « November » (MaxJazz/ Horn Series) 9$ (new) - Enrico Rava : « New York Days » (ECM) 9$ (new) - Jan Roder : « Double Bass » (Jazzwerkstratt) 9$ (new) - Paul Rutherford : « Chicago 2002 » (Emanem) 8$ (a solo + 3 pieces with Gustafsson, Coxhill, Kessler, Bishop, etc.) - Aki Takase Quintety (with Rudi Mahall & Tobias Delius) : « Aki and the Good Boys (Live at Willisau Jazz Festival) » (Jazzwerkstatt) 9$ (new) (GONE) - Vassilis Tsabropoulos : « The Promise » (ECM) 9$ (new) - Per Henrik Wallin Trio : « The Stockholm Tapes » (Ayler Records) 9$ (the great late suedish pianist in one of his best rec.) 5$ for 1 CD (Europe) 6$ for 2 etc. 6$ for 1 CD (North America) 7$ for 2 etc.

Around 1976/77 there was free concerts of free jazz organised in the Palais des Beaux-Arts in Brussels every friday evening (we have seen there Steve Lacy Sextet, Misha Mengelberg, ICP, Peter Brötzman and alike). One Evening, during a concert of the ICP, Han Bennink decides to throw on his drums some table tennis (ping pong) balls. Of course the balls bounce in the public who were sitting on the floor around the musicians. The public was laughing a lot when suddenly two three spectators decided to throw the ball back to Han quickly following by all the crowd, at least by those who could find a ball. Under attack, The drummer take off his cymbal and try to protect himself from the bombing and, also redirecting the balls in the direction of the public with this improvising Shield... A great moment of total non-sense (if not of great music).

Can't agreed more. I met him a year ago in Hasselt (Belgium) in some sort of informal free jazz meeting. Impossible to talk with him about nothing else but himself. And further than that, when you speak with him in reality, when he seems to answer to you, he is just speaking to himself. A real "personnage", certainly, but, to say the truth not so convincing as a player when you seen him just after a glorious set from Evan Parker/ John Edwards/ Chris Corsano Trio.

Sarod maestro Ali Akbar Khan passes away Sarod maestro Ustad Ali Akbar Khan passed away in San Francisco in the US after a prolonged kidney ailment, according to a family friend in Kolkata. 88-year-old Khan died at his music centre at 10 am IST, Rabin Pal, the secretary of sitarist Pandit Ravi Shankar, said. The Sarod maestro is survived by wife Mary, three sons and daughter. Pal, a family friend of the sarod maestro, said that he was informed about the death of Khan by the Ustad's family in San Francisco. Khan's secretary in Kolkata Ashish Roy said the maestro, who was on dialysis, had been ailing for over four years and his condition had deteriorated in the last four months. A recipient of Padma Bhushan and Padma Vibhushan, Khan was a colossus in the world of Indian classical music for the last five decades. One of the most accomplished of Indian musicians in the Classical tradition, Ustad Ali Akbar Khan has been designated a 'Living National Treasure' in India - not to mention the fact that he is the object of much admiration in the rest of the world for his absolute mastery of the 25-stringed sarod. Hailed by violinist Yehudi Menuhin as 'the greatest musician in the world', Sarod maestro Ali Akbar Khan had many a first to his credit in taking Indian classical music to the West. 88-year-old Khan, who had settled down in San Francisco in the US, was admired by both Eastern as well as Western musicians for his brilliant compositions and his mastery of the 25-string instrument. The illustrious son of Ustad Alauddin Khan, he was once described by Menuhin as 'the greatest musician in the world'. Khan was the first to cut a long player record of Indian classical music in the US and to give a sarod recital on American TV. Khan was also the first Indian musician to receive the MacArthur Foundation Fellowship in 1991 and was nominated for Grammy Awards five times between 1970 to 1998. Born on April 14, 1922 in Shibpur village of Comilla district, now in Bangladesh, Khan took up music at the age of three, learning vocal music from his father and percussion from his uncle, Fakir Aftabuddin. His father also trained him in several other instruments, but Khan decided to concentrate on the sarod and on vocals. A recipient of Padma Vibhushan and Padma Bhushan, Khan gave his first public performance in Allahabad at the age 13 and made his first gramophone recording in Lucknow when he was in his early twenties. [url="http://news.rediff.com/report/2009/jun/19/sarod-ali-akbar-khan-passes-away. A great great musician's gone. RIP Ali Akbar Khan

Did you buy the CD or buy the download?

I receive that few minutes ago: ----------------------------------------------------------------------------------------------------------------------------------------------- Dear friends and colleagues, today I have the sad task of informing you that Charlie Mariano is no longer among us, he "checked out" this morning. Email is not how I would have wanted to pass on this message to you, but due to his great number of friends, I am not able to call each of you personally. We will miss his voice, we will miss his humor, and all of you who over the years had the good luck of playing together with him will feel the loss. He had spent the last weeks in the Mildred Scheel Hospiz where he was given the best possible care. His wife Dorothee had been caring for him lovingly for months. His daughter from the US had come to be with him. Many of you had visisted him during the last months. He was not alone. Tonite I will sit down to listen to his music. Two new CDs recorded within the last year are to be released, one with Chaouki Smahi and Billy Cobham, one with Jasper and Philip Catherine. At 85 he was still blowing beautifully, touching the hearts of his audience. An era of great jazz players seems to be nearing it´s end. Please carry on the spirit of great music to which Charlie dedicated his life. Remember him as someone who played with everyone and everywhere, never could say no to anyone wanting him to join-up for a gig. Remember him as a musician who was held in great esteem but other musicians as well as by the listeners for besides his great music he was a sweet, and may I mention it; good-looking man. He was a friend and his loss will be felt dearly. Sincere Greetings, sharon ----------------------------------------------------------------------------------------------------------------------------------------------- RIP, Charlie.

You just forget to add that they didn't only boo the two musicians but they also cheer them during the same concerts. You seem to ignore than people from conservative jazz circle use to go to concert to boo the avant-garde musicians of the time a crusade who ended often with fight with those who love and support them in the same concert. Listen better to both records (you should have no difficulties with the good hifi that you certainly have) and you will hear it clearly than the applauses conter-attack the booing. Yep, in this years (the sixties - and it was the same in movie theater about the films of the "Nouvelle-vague), the scene was alive, don't you think? It sounds like there were two fractions within the audience, competing against each other with their expression of disapproval and approval. I'm sure that in other countries there was the same difference in opinion on Trane's playing. It's just those people - unlike the Parisians - were polite enough not to disrupt the concerts. You don't hear any whistling on the Miles/Coltrane 1960 concerts recorded in Sweden, Denmark and Germany. Another example of the french "jazz hooliganism" is the reaction to the Eric Dolphy and Charles Mingus "dialogues" at the Antibes 1960 concert. Or, maybe, the reality was than only people who like the way Coltrane was playing came to its concerts. To spoke so seriously about the french "jazz hooliganism" makes me smile. And to speak about politeness make me yawn. Jazz is not a "polite music" in my view. Just the contrary.

You just forget to add that they didn't only boo the two musicians but they also cheer them during the same concerts. You seem to ignore than people from conservative jazz circle use to go to concert to boo the avant-garde musicians of the time a crusade who ended often with fight with those who love and support them in the same concert. Listen better to both records (you should have no difficulties with the good hifi that you certainly have) and you will hear it clearly than the applauses conter-attack the booing. Yep, in this years (the sixties - and it was the same in movie theater about the films of the "Nouvelle-vague), the scene was alive, don't you think?

Are you kidding? The same happens to Roger when he wins over Nadal in Madrid from the spanish crowd. To quote you "A fair and Polite" genius like Roger did'nt deserve to have to confront such a "stupid and dumb-ass spectators". What's your nationality again, EKE BBB? End of : everything must be put in his right perspective. And happy to see gentleman Roger win at last in RG. Go on Roger! (and no, I'm not from Switzerland. Just to happy to have seen all of those borring specialist of "terre battue" beaten by the Gentleman Jim of the tennis.)

Funny (?) that nobody prononced the name of JIMMY GIUFFRE yet.

- MAX ROACH/ ANTHONY BRAXTON: ONE IN TWO TWO IN ONE (hatOLOGY) - MAX ROACH & CECIL TAYLOR: HISTORIC CONCERTS (SOUL NOTE) - MAX ROACH featuring ANTHONY BRAXTON: BIRTH AND REBITH (BLACK SAINT) - PERCUSSION BITTER SWEET (IMPULSE) - WE INSIST FREEDOM NOW (CANDID) In this order. And the story of "coldness", that some speak about here, are not relevant for me. I've some difficulties to imagine ART BLAKEY pairing with BRAXTON. MAX ROACH opens the road to drummers like TONY WILLIAMS, JACK DeJOHNETTE and a lot of europeans drummers (LYTTON, OXLEY, LOVENS, JOHANSSON). He was certainly a cerebral drummers. Suit me perfectly.

I try to send you message about your records but have somme difficulties to. Did you, anyway, receive the message?

- Tony Malaby Cello Trio (Fred Longberg-Holm, John Hollenbeck) : Warblepeck (Songlines hybrid SACD) - Vandermark 5: Beat Reader (Atavistic) - Daniel Humair: Baby Boom Bonus (Bee Jazz)

- The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik - DVD)

Is it a joke or are you as stupid as you sound? (Like "Olivier" would have say in his native language, if he wasn't so polite "ce type est complètement abrutis. Quel con!")

Braxton Mosaïc. For the moment I'm at the end of CD two - Braxton in solo. Love it.

A Top 10 of some sort in alphabetic order: - Anthony Braxton/ Milford Graves/ William Parker: "Beyond Quantum" (Tzadik 7626) - Canaries On The Pole: "#2" (Creative Sources 135) - Silke Eberhard Trio: "Being" (Jazzwerkstatt 027) - Peter Evans/ Walter Weasel Group: "Oculus Ex Abyssus" (EXPLODE Records ug28/ LP) - Jacques Foschia: "Clair Obscur" (Creative Sources 108 CD) - Rolf Kühn & Tri-O: "Rollercoaster" (Jazzwerkstatt 039) - Lindsay/ Mendoza/ Smith/ Walter: "Jus" (bpa 013) - Trio Hot (Jörgensman/ Maurer/ Jacquemyn): "Jink" (Nemu 008) - Alexander von Schlippenbach: "Piano Solo '77" (FMP C129) - Miguel Zenon: "Awake" (Marsalis Music 0925) + - Blue Notes: "The Ogun Collection" (Ogun OGCD 024-028) and The Braxton Mosaic

The best Braxton' Ghost Trance Music (according to my taste) is on Delmark. - Anthony Braxton: Four Compositions (GTM) 2000 (DelmarkDG 544) Featuring Kevin Uehlinger on piano (no, he is not related to hatOLOGY's boss Werner X. Uehlinger), Keith Witty on string bass and Noam Schatz on percussion. If you don't like GTM, this record will make you change your mind.

I supposed, I am. Spend a lot of money between to 2003/6 (I get a lot money, in 2003, mostly unespected) on the system I'm listening through now). I have a special room to listen to music. And I always try to improve that system (recently by upgrading the CD players who are the part who evolute most). The system (who will stay at it is for the rest of my life, I suppose, even if I always look for opportunity on the second hand maket) : CD players: Link Accurate CD (read SACD to) Philips CD Player 723 who have been improved by a friend fifteen years ago (change or double most of the componements, ad tubes, etc.). Turntable: Thorens 1500 turntable from 1962 with a Shure SME 36009 arm and different cartridges (MC) Shure, Grado, Ortofon. (bought with the arms in a flea market in Holland) Preamp: Audio Research SP 16 (second hand) Amp: Krell KSA 250 (second hand) Speakers (panels in fact): Magneplanar 3.5/R (second hand) Different cables : Siltech, Van den Hull and some home made by a friend. But what make me different from the real audiophile it's that I'm listening to the music through my system and not listening to the system through the music.

The same here for me as a single title but I'll take the whole album ("The genius Of charlie Parker #3: Now The Time/ The Quartet Of Charlie Parker" Verve) and particularly, the first Half of it recorded in December 30, 1952 with Hank Jones, Teddy Kotick, Max Roach who is simply the best sounding session ever recorded by Bird.

Agreed.

I saw Hakon Korstad live a couple of weeks ago--a pretty impressive tenor player, I must say. I've bought some time ago this double LP from him He was playing with this trio minus Dörner. In which setting did you seen him play?