Funny Rat

[Д.Д.]

JAMES FINN: OPENING GATES (CIMP)

[...]

Bob Rush says that he received this as a demo and find it so astonishing that he has decided to publish it.

So I assume sound-wise it's better than majority of the CIMP releases?

[Д.Д.]

P.L.M.: on the "Willisau" - that's the usual high swiss standards

Oh yeah, remember those cardboard red/black Swiss Atlantic remasters (you can still see them around here in Europe).

This might have been some French provocation, though.

Edited April 14, 2004 by Д.Д.

[Jim Dye]

AOKI HUNSINGER JARMAN

Trio

I found this at my local used CD emporium and decided to take a chance. It's a interesting and introspective set. I'm impressed with Hunsinger. I hadn't heard any of her work until now. Good stuff!

***LINK***

[Д.Д.]

AOKI HUNSINGER JARMAN

Trio

***LINK***

Looks good. I've never heard of Hunsinger either..oboe, english horn - should be nice...

I'll check it out.

[Matthew]

I know that Matthew Shipp is supposed to be the somekind of great player, but after listening to Multiplication Table a couple of times, I cannot understand the hype. AMG gives this a great review, but, to my ears, the cd is way overblown. Seems like Shipp wanted to make a "big statement" with Multiplication Table and it did not work. I usually enjoy remakes of standards but "C Jam Blues" and "A Train" are just too clever for their own good. Much perfer Shipp when he's not making a Grand Artistic Statement.

[king ubu]

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.)

...

I think you answer your own question: there are some good musicians around! Not that I'm all that well acquainted with the swiss jazz scene of today, but I hear interesting things here and there pretty often.

By the way, Pearson is an englishman who lives in switzerland (Zurich, I think, but I'm not sure) for pretty long, now.

There are other imports, as Nils Wogram, or Billy Cobham (if you're into GOOD classic piano trio playing standards, check his "Art of the Three" with Kenny Barron and Ron Carter, one of the most surprising albums of recent years, in my (and Sngry's - see his thread in the recommendations section) opinion)

ubu

[P.L.M]

JAMES FINN: OPENING GATES (CIMP)

[...]

Bob Rush says that he received this as a demo and find it so astonishing that he has decided to publish it.

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.)

Edited April 14, 2004 by P.L.M

[Nate Dorward]

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.

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.

The sound on it is indeed quite good, much better than you'd expect from Rusch's comment that it was originally submitted as a demo. -- Ah yes, the usual skeptical comments about CIMP sound cropping up, I see. Though I've heard a few CIMPs where the balance was problematic (I think to complain about "CIMP sound" is misleading: the usual complaints I hear specifically concern the balance between bass & drums), mostly I've found them just fine, & sometimes just about as stunning as the elaborate producer's notes would have you believe: listen to a disc like Adam Lane's Fo(u)r Being(s) or Trio-X's Journey, for instance. They sound pretty darn good, both musically & sonically. Anyway, I'll let Rusch fight his own battles but on the whole I've been pretty pleased with the label's output. They could stand to pare down releases--most are in the 65- to 75-minute range, & if not enough tracks are recorded to get it to that length then alternate takes are inevitably added--but that's a minor criticism. Of the new batch I've heard only the Eisenstadt & Gagliardi: too early to tell but the tracks I heard of the Eisenstadt are certainly fascinating, not least for the stunning lineup (three trumpets: Roy Campbell, Paul Smoker, Taylor Ho Bynum) & for his distinctive use of hocketing in the arrangements. I've avoided the two Dunmalls having found the Emanem Hour Glass pretty dull. -- But, yes, the most striking thing I've heard yet was the Finn on CJR: it's the real deal.

[Guest Chaney]

...Of the new batch I've heard only the Eisenstadt & Gagliardi: too early to tell but the tracks I heard of the Eisenstadt are certainly fascinating, not least for the stunning lineup (three trumpets: Roy Campbell, Paul Smoker, Taylor Ho Bynum) & for his distinctive use of hocketing in the arrangements. ...

hocket or hoquet 1: HICCUP 2: in medieval music: an interruption of

a voice or part by interjected rests resulting in a broken musical

line; also: a composition using such an interruption as a contrapuntal

device.

[Nate Dorward]

Yes: I recall that the composer Louis Andriessen is so fond of the technique that he named a band for it (Hocketus).

[J.A.W.]

Yes: I recall that the composer Louis Andriessen is so fond of the technique that he named a band for it (Hocketus).

Actually, the band is called Hoketus.

[Д.Д.]

I know that Matthew Shipp is supposed to be the somekind of great player, but after listening to Multiplication Table a couple of times, I cannot understand the hype. AMG gives this a great review, but, to my ears, the cd is way overblown. Seems like Shipp wanted to make a "big statement" with Multiplication Table and it did not work. I usually enjoy remakes of standards but "C Jam Blues" and "A Train" are just too clever for their own good. Much perfer Shipp when he's not making a Grand Artistic Statement.

I actually quite liked this one. I never had a feeling of Shipp trying to make any statement here. And for once, I liked William Parker's bass work!

Regarding CIMP, I agree - some of their recordings sound very nice, and indeed thez have improved resently. I also really enjoy the cover art.

[Д.Д.]

Frim Gianni Gebbia's website:

May 17th: Recording session@ Sonoma State University with Fred Frith

I don't really know Frith's music (I only have his VERY impressive orchestral works recordings with Ensemble Modern), but it all sounds intriguing.

[P.L.M]

[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.

Yeah, Nate, you're right.

"Groundbreaking", the term is a bit exaggerate. Voluntary exaggerate because, somehow, it's the nature of the game on this thread to exaggerate a bit.

Anyway, JAMES FINN, even if he has a style grounded in the post Coltrane/Ayler vein who's not anymore the more far out that we can listen today, makes an impressive start with OPENING THE GATE, a first album who easily blows away many first albums made by well-considered players like ASSIF TSAHAR or TONY MALABY and the whole bunch of the young tenors on Fresh Sound NT and other labels of the same kind (but FINN is not specially a young man.)

But more than the old masters, what I heard in him is a potential replacement for people like FRANK WRIGHT, GLENN SPEARMANN (and, now, FRANK LOWE) whose places has never been really fulfil - even by IVO PERELMAN and I like the bresilian a lot.

If the guy doesn't start to disperse himself in the months who come by recording a bunch of undistinguish CDs one after one, there's hope that he could filled with grace and beauty the empty hole.

As CIMP is concern, I think that RUSH has made a beautiful work with CIMP.

With his flaws and his success, of course.

The two main reproachs that could be made to the recording (their strength is their incredible dynamic), it's the choice that the RUSH has made to not balance the sound between instruments (a choice who condemn most of the the bass playing to be unheard and the drums to dominate in any circonstances) and, the other regretable thing, is to have every record with the same sound's colour because nothing is never done to attenuate the strong sound coloration of the studio.

When you listen to a CIMP, if you don't know it's nearly impossible to say immediately who is playing. But you know, for sure, that it is a CIMP record.

I think also that they could use, now, the 24/96 recording technology who could bring to many of the sessions a superior quality of definition.

Edited April 15, 2004 by P.L.M

[Д.Д.]

Being a solo bass freak I am, there is no way I will miss this one:

From DMG review:

INGEBRIGT HAKER FLATEN - Double Bass (Sofa 511) Ingebrigt has an impressive resume, playing with Raoul Bjorkenheim in the incredible Scorch Trio and Ken Vandermark in his School Days band and other Vandermark projects. This is Ingebrigt's first-ever solo contrabass effort and rumors of its remarkable nature are quite well deserved. There is little overdubbing going on here, making all the more astounding. Half of these tracks are recorded with his "Emma", an East-German bass from the forties and the rest with his own Italian bass from 1812. Mr. Flaten does a good deal of banging, plucking and bowing, and comes up with an assortment of fascinating alien sounds. Each piece deals with a certain sonic area or approach on the bass, sometimes caressing certain parts of a melody, sometimes turning logic inside-out. "Ulv Ulv" features rather hypnotic and strange buzzing, bowed sounds that are quite unnerving. He plucks and pulls the strings into bizarre shapes and sounds on "Babylon" and get those low notes to hum like molasses on "Kindred Spirit". Sometimes the strings buzz so intensely, you think they were about to explode. The only song that Ingebrigt covers is based on Gershwin's "I Love You Porgy", he does indeed play the melody with righteous grace. "Swedish Impressions" is the one long piece that is filled with some eerie, groaning, ghost-like and nightmarish dark spirits on his bowed bass. Let's welcome Ingebrigt Haker Flaten to the wild world of solo acoustic bass that he now shares with other great bassists like Peter Kowald, Barry Guy, William Parker Paul Rogers.

P.L.M. and Nate, let us know about the rest of the CIMP / CJR releases - all look interesting.

[Д.Д.]

Anyway, JAMES FINN, even if he has a style grounded in the post Coltrane/Ayler vein who's not anymore the more far out that we can listen today, makes an impressive start with OPENING THE GATE, a first album who easily blows away many first albums made by well-considered players like ASSIF TSAHAR or TONY MALABY and the whole bunch of the young tenors on Fresh Sound NT and other labels of the same kind (but FINN is not specially a young man.)

But more than the old masters, what I heard in him is a potential replacement for people like FRANK WRIGHT, GLENN SPEARMANN (and, now, FRANK LOWE) whose places has never been really fulfil - even by IVO PERELMAN and I like the bresilian a lot.

P.L.M., have you heard Francis Wong (AMG entry)? A very strong post-Coltrane/Sanders/Ayler tenorist, good composer (incorporates elements of Chinese folk music).

[J.A.W.]

Frode Gjerstad / William Parker / Hamid Drake - Remember to Forget

       

Recorded live in October of 1997.  Some great playing by all involved.  Highly recommended!

John,

Where did you pick this one up? The Music Resource can't get it anymore, Cadence's overseas shipping rate is a bit steep and I couldn't find it anywhere else.

[Late]

Being a solo bass freak ...

... then you'll want this one:

Michael Formanek's Am I Bothering You?

Not quite as ecstatic as Was Da Ist, though a very fine solo bass outing. Formanek even comes up with some extended techniques that Kowald didn't (hard to do)!

[Д.Д.]

Being a solo bass freak ...

... then you'll want this one:

Michael Formanek's Am I Bothering You?

Not quite as ecstatic as Was Da Ist, though a very fine solo bass outing. Formanek even comes up with some extended techniques that Kowald didn't (hard to do)!

Thanks Late. This one is on THE LIST.

[John B]

Frode Gjerstad / William Parker / Hamid Drake - Remember to Forget

       

Recorded live in October of 1997.  Some great playing by all involved.  Highly recommended!

John,

Where did you pick this one up? The Music Resource can't get it anymore, Cadence's overseas shipping rate is a bit steep and I couldn't find it anywhere else.

I either got it through Verge or Cadence. It was probably Verge, but I don't believe they have it in stock anymore.

[J.A.W.]

Frode Gjerstad / William Parker / Hamid Drake - Remember to Forget

       

Recorded live in October of 1997.  Some great playing by all involved.  Highly recommended!

John,

Where did you pick this one up? The Music Resource can't get it anymore, Cadence's overseas shipping rate is a bit steep and I couldn't find it anywhere else.

I either got it through Verge or Cadence. It was probably Verge, but I don't believe they have it in stock anymore.

They don't

[Nate Dorward]

Anyway, JAMES FINN, even if he has a style grounded in the post Coltrane/Ayler vein who's not anymore the more far out that we can listen today, makes an impressive start with OPENING THE GATE, a first album who easily blows away many first albums made by well-considered players like ASSIF TSAHAR or TONY MALABY and the whole bunch of the young tenors on Fresh Sound NT and other labels of the same kind (but FINN is not specially a young man.)

But more than the old masters, what I heard in him is a potential replacement for people like FRANK WRIGHT, GLENN SPEARMANN (and, now, FRANK LOWE) whose places has never been really fulfil - even by IVO PERELMAN and I like the bresilian a lot.

If the guy doesn't start to disperse himself in the months who come by recording a bunch of undistinguish CDs one after one, there's hope that he could filled with grace and beauty the empty hole.

Never really got with Tsahar, really--the one concert I saw was close to appalling--but Malaby's good, as is Perelman, though in very different ways! -- Well, assuming he stays on good terms with Bob Rusch, we can expect a lot more of Mr Finn, since Rusch tends to be very generous with studio time for the musicians he's excited about. What I'll be interested to see is how big Fiin's bag is. Steve Smith, by the way, has heard a prerelease version of one of Finn's next discs (I think it's to come out on Clean Feed) & commends it highly.

[Д.Д.]

Frode Gjerstad / William Parker / Hamid Drake - Remember to Forget

       

Recorded live in October of 1997.  Some great playing by all involved.  Highly recommended!

John,

Where did you pick this one up? The Music Resource can't get it anymore, Cadence's overseas shipping rate is a bit steep and I couldn't find it anywhere else.

I either got it through Verge or Cadence. It was probably Verge, but I don't believe they have it in stock anymore.

They don't

Hans, try contacting Frode Gjerstad directly: fgjersta@online.no

[Matthew]

Questions:

1. In my reading on free jazz / improvisation I keep coming across the group AMM that's suppossed to be a big influence on everyone. Is this a group in need to check out? If so, where should I start?

2. While I'm asking about artists who have had a big influence, what about any Karlheinz Stockhausen recommendations? Seems I should try this guy out because every jazz musician talk about his composing.

One last comment: This Cecil Taylor cat, he can play!

[Nate Dorward]

Yes, AMM's an important group. I'm sure that there are plenty of people who will chime in (Jon Abbey I think pops up on this board occasionally, for instance). There's enormous disparity between their earliest work & the later work--the earpiercing racket of The Crypt (1968) bears little obvious relation to the latterday AMM with John Tilbury.

I've found that Newfoundland (Matchless) is an excellent place to start, or The Inexhaustible Document perhaps.