John B Posted December 31, 2005 Report Share Posted December 31, 2005 Happy New Year to all of you, too! I'm off to choose some "family friendly" music for the guests today. How Funny Rat can I get the music without receiving complaints? I'll start with Charles Tolliver and see how that goes. Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted December 31, 2005 Report Share Posted December 31, 2005 Happy New Year to all of you, too! I'm off to choose some "family friendly" music for the guests today. How Funny Rat can I get the music without receiving complaints? I'll start with Charles Tolliver and see how that goes. John, have mercy on your loved ones during the new year celebration. Meaning, choose some later-period Broetzmann, not "Machine Gun". ICTUS RECORDS' 30th ANNIVERSARY COLLECTION - 12-CD Limited edition Box-set - RELEASE DATE - March 1, 2006 Bagatellen: Wallets Wither as Ictus Resurfaces A lot (all?) of this stuff has been available on CD on Italian Felmay / Robi Droli label in the "Ictus reissues" series: LINK. I have some of the CDs, but don't remeber them at all. Quote Link to comment Share on other sites More sharing options...
Guest Chaney Posted December 31, 2005 Report Share Posted December 31, 2005 John: As I recall, I sent you a Sketch CD containing some very pretty music that I feel your relatives would love. Speaking of the Ictus label, anyone familiar with Andrea Centazzo? Is he to be embraced? Shunned? Happy New Year to All! Quote Link to comment Share on other sites More sharing options...
John B Posted January 3, 2006 Report Share Posted January 3, 2006 John, have mercy on your loved ones during the new year celebration. Meaning, choose some later-period Broetzmann, not "Machine Gun". No Broetzmann, but Don Pullen seemed to work really well. (Or at least they did not complain to me.) Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted January 7, 2006 Report Share Posted January 7, 2006 (edited) Mahall may indeed be the very best bass clarinet player since Dolphy (at least over here in Europe)... Flurin, amigo, are you trying to stir The Rat with provocative contorversy ? You don't really mean it, do you? I have a couple of CDs with Mahall, and heard him live (with Schlippenbach Monk project), and I've found him invariably mediocre. Hans Koch, Wolfgang Fuchs, Louis Sclavis, André Jaume (and many many more) are definitely more interesting (and original) Eeropean bass-clarinetists... Edited January 7, 2006 by Д.Д. Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted January 7, 2006 Report Share Posted January 7, 2006 Two full-track mp3s from the new Full Metal Klezmer CD (with Gianni Gebbia) are available at El Gallo Rojo website. Fun stuff. Quote Link to comment Share on other sites More sharing options...
king ubu Posted January 7, 2006 Report Share Posted January 7, 2006 David, of course any such categoric statement is over the top... but I was rather serious about liking Mahall. He was terrific with Die Enttäuschung/Schlipp playing Monk tunes (but Dörner was even better). I was very impressed by Mahall, seriously! Of course I find guys like Sclavis or Koch at least as interesting... (but I missed Koch's solo concert the day after the Wogram-Mahall concert took place). Btw: another very interesting clarinetist: Michael Moore - of course you all know him, but I am a fairly recent convert, originally only knew him from those Rara Avis discs Gokhan sent me (thanks!), then from the two Rara hatOs... but after Wogram-Mahall, the ICP guys played, and that was one marvellous concert! All of them did some great playing/soloing - maybe the serious one of the tenor saxists was the most boring/predictable musician of them all - the madman tenorist was da shitte, for sure! Moore played some great stuff, going from Lee Konitz coolness to chirpish free stuff. Similarly the blokes on tenor, from full-bodied Webster-Brötz to chirps... and the brass guys were pretty good, too. Mengelberg seemed a bit tired, but when he had his duo with Bennink, and the occasional solo with no horn interfering, he was fully there, minimalist as ever... (much better than a late 2004 solo set I heard on the radio, which turned into lyrical bla-bla). The cello maniac was also utter fun to watch - that guy is ooooold (sorry, don't want to offend anyone...) and was directing the band by jumping around like a 5 year old... and when he bowed the cello he got into something like another state of being it seemed, being so deeply involved. They did their usual stuff - from Ellington-like stuff to free improvs, and in the end added as encore, dedicated to Schlipp who as in the audience, "Alexander's Ragtime March" or how that number is called - great fun! Even if this concert hardly presented anything "new" or "innovative", it was one of the most beautiful and enjoyable concerts I ever saw - they clicked with me from the very first tone (prob. Bennink hitting the post of his hi-hat...) ***** Then, I received the first Bailey discs from our kind helping hands (we'll do a radio show in his honour on Jan. 15th and I have so few discs myself that I asked around a bit), and have been playing "Domestic & public Pieces" and "Improvisation", two totally compelling solo discs. Now listening to "Yankees" I don't find that one so good - but maybe it would need more effort to get into this one. Quote Link to comment Share on other sites More sharing options...
king ubu Posted January 7, 2006 Report Share Posted January 7, 2006 Oh, and happy new year to all of you, too! Quote Link to comment Share on other sites More sharing options...
brownie Posted January 7, 2006 Report Share Posted January 7, 2006 ... have been playing "Domestic & public Pieces" and "Improvisation", two totally compelling solo discs. Ubu, your enthusiastic recommendations have me wanting to relisten to these with fresh ears! Quote Link to comment Share on other sites More sharing options...
king ubu Posted January 7, 2006 Report Share Posted January 7, 2006 ... have been playing "Domestic & public Pieces" and "Improvisation", two totally compelling solo discs. Ubu, your enthusiastic recommendations have me wanting to relisten to these with fresh ears! You'll have to wait some, now! Thanks a lot for sending them my way again! I was playing the Potlatchs before ("No Waiting" is terrific, Lacy is good on "Outcome", but they're more merely playing along each other, rather than together). Also played some live sets: with The Company incl. Brötz, Maslak, Zorn, Frith, Laswell, Leandre & Baptista. Then a trio with George Lewis and Anthony Braxton (my girlfriend dubbed that "annoying noise" and closed the door to the room I was in...), and a short Beeb broadcast with The Ruins. All enjoyable, but the solos and the Leandre duo remain my favourites. I'll wait for two more packages to arrive soon, though... I am still a Bailey novice! Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted January 7, 2006 Report Share Posted January 7, 2006 Mahall may indeed be the very best bass clarinet player since Dolphy (at least over here in Europe)... Flurin, amigo, are you trying to stir The Rat with provocative contorversy ? You don't really mean it, do you? I have a couple of CDs with Mahall, and heard him live (with Schlippenbach Monk project), and I've found him invariably mediocre. Hans Koch, Wolfgang Fuchs, Louis Sclavis, André Jaume (and many many more) are definitely more interesting (and original) Eeropean bass-clarinetists... Ubu, I just remembered this statement of yours: [...]I never was a fan of Mahall. I know him from two projects of Aki Takase's - he was outright boring with her W.C. Handy tribute project, but a recent broadcast I heard of her Fats Waller programme was fun (meaning: he didn't disturb and Eugene Chadbourne and the others had a whole lot of fun). [...] so I really thought you were pulling the funny rat leg. I, never a flip-flopper, firmly stick to my opinions. This normally lasts till a subsequent listen to a CD - then a new firm and irreversable opinion is usually formed. ----------------- André Goudbeek - solo bandoneum improvisations. My firm opinion - not bad at all. Quote Link to comment Share on other sites More sharing options...
gnhrtg Posted January 8, 2006 Report Share Posted January 8, 2006 Btw: another very interesting clarinetist: Michael Moore - of course you all know him, but I am a fairly recent convert, originally only knew him from those Rara Avis discs Gokhan sent me (thanks!), then from the two Rara hatOs... but after Wogram-Mahall, the ICP guys played, and that was one marvellous concert! All of them did some great playing/soloing - maybe the serious one of the tenor saxists was the most boring/predictable musician of them all - the madman tenorist was da shitte, for sure! Moore played some great stuff, going from Lee Konitz coolness to chirpish free stuff. Similarly the blokes on tenor, from full-bodied Webster-Brötz to chirps... and the brass guys were pretty good, too. Mengelberg seemed a bit tired, but when he had his duo with Bennink, and the occasional solo with no horn interfering, he was fully there, minimalist as ever... (much better than a late 2004 solo set I heard on the radio, which turned into lyrical bla-bla). The cello maniac was also utter fun to watch - that guy is ooooold (sorry, don't want to offend anyone...) and was directing the band by jumping around like a 5 year old... and when he bowed the cello he got into something like another state of being it seemed, being so deeply involved. They did their usual stuff - from Ellington-like stuff to free improvs, and in the end added as encore, dedicated to Schlipp who as in the audience, "Alexander's Ragtime March" or how that number is called - great fun! Even if this concert hardly presented anything "new" or "innovative", it was one of the most beautiful and enjoyable concerts I ever saw - they clicked with me from the very first tone (prob. Bennink hitting the post of his hi-hat...) ubu - I saw ICP in July and my take is much the same. Ab Baars was by far the least interesting musician on stage that night (and know that not all were in the best of their forms) and, for me, Michael Moore stole the show. The cello maniac, I think, would be Tristan Honsinger And I was lucky enough to also see a long-ish and much entertaining duo section with Wolter Wierbos and Tobias Delius. Quote Link to comment Share on other sites More sharing options...
king ubu Posted January 9, 2006 Report Share Posted January 9, 2006 Ubu, I just remembered this statement of yours: [...]I never was a fan of Mahall. I know him from two projects of Aki Takase's - he was outright boring with her W.C. Handy tribute project, but a recent broadcast I heard of her Fats Waller programme was fun (meaning: he didn't disturb and Eugene Chadbourne and the others had a whole lot of fun). [...] so I really thought you were pulling the funny rat leg. I, never a flip-flopper, firmly stick to my opinions. This normally lasts till a subsequent listen to a CD - then a new firm and irreversable opinion is usually formed. David, I was perfectly aware I posted so negatively about Mahall some time ago, BUT I really and seriously reconsidered upon seeing him live! Btw: another very interesting clarinetist: Michael Moore - of course you all know him, but I am a fairly recent convert, originally only knew him from those Rara Avis discs Gokhan sent me (thanks!), then from the two Rara hatOs... but after Wogram-Mahall, the ICP guys played, and that was one marvellous concert! All of them did some great playing/soloing - maybe the serious one of the tenor saxists was the most boring/predictable musician of them all - the madman tenorist was da shitte, for sure! Moore played some great stuff, going from Lee Konitz coolness to chirpish free stuff. Similarly the blokes on tenor, from full-bodied Webster-Brötz to chirps... and the brass guys were pretty good, too. Mengelberg seemed a bit tired, but when he had his duo with Bennink, and the occasional solo with no horn interfering, he was fully there, minimalist as ever... (much better than a late 2004 solo set I heard on the radio, which turned into lyrical bla-bla). The cello maniac was also utter fun to watch - that guy is ooooold (sorry, don't want to offend anyone...) and was directing the band by jumping around like a 5 year old... and when he bowed the cello he got into something like another state of being it seemed, being so deeply involved. They did their usual stuff - from Ellington-like stuff to free improvs, and in the end added as encore, dedicated to Schlipp who as in the audience, "Alexander's Ragtime March" or how that number is called - great fun! Even if this concert hardly presented anything "new" or "innovative", it was one of the most beautiful and enjoyable concerts I ever saw - they clicked with me from the very first tone (prob. Bennink hitting the post of his hi-hat...) ubu - I saw ICP in July and my take is much the same. Ab Baars was by far the least interesting musician on stage that night (and know that not all were in the best of their forms) and, for me, Michael Moore stole the show. The cello maniac, I think, would be Tristan Honsinger And I was lucky enough to also see a long-ish and much entertaining duo section with Wolter Wierbos and Tobias Delius. Thanks for adding the names! I was too lazy to look them up. Tobias Delius is the madman on tenor, then (I have an itch that he is seriously "over the edge" in some kind of way...). Wierbos was on trombone, and Heberer on trumpet, both adding very fine playing, mainly to the interpretations of traditional material (they did an Ellington jungle number, but I can't recall what it was). Honsinger was fantastic. Glerum (bass) was the most silent and steady-going of all of them - maybe that's what's needed in such a bunch of chaos-heads, someone who steadily does his thing in the background... Quote Link to comment Share on other sites More sharing options...
John B Posted January 10, 2006 Report Share Posted January 10, 2006 I have a new favorite review from Allmusic. It is a "review" of Julius Hemphill's Roi Boye and the Gotham Minstrels, on Sackville. Here is the complete review, penned by Michael Nastos: "Psycho-theater drama in the form of the free African-American creative-jazz movement at its height. " I have no idea what that is supposed to mean. Quote Link to comment Share on other sites More sharing options...
jon abbey Posted January 10, 2006 Report Share Posted January 10, 2006 yeah, I saw that too last night when putting the CD up on ebay, nicely done. they do call it an "audiodrama" on the CD itself, FWIW... Quote Link to comment Share on other sites More sharing options...
John B Posted January 10, 2006 Report Share Posted January 10, 2006 I pulled up the review after looking at your auction. What garbage. I did win one of your auctions and will be sending payment later on today. Quote Link to comment Share on other sites More sharing options...
jon abbey Posted January 10, 2006 Report Share Posted January 10, 2006 I did win one of your auctions and will be sending payment later on today. no rush if you want to bid on other stuff and save on shipping... Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted January 17, 2006 Report Share Posted January 17, 2006 I'm in NYC, and picked up some music. Brad Shepik - "The Well" (Songlines, 2000). Good stuff, if a bit too polished. With a significant does of Balkan / Middle Eastern influence with all the tricky dance rhythmos and grooves. I really enjoy Shepik's guitar sound and the way he builds his solos. Peter Epstein on alto and soprano saxophones adds the most dissonance here with some pretty tense solos. Very stroing melodies. Barre Phillips - "Journal Violone 9" (Emouvance, 2001). Solo bass Well, Phillips is by favorite bassist, and this is as good as anything he has recorded, withthe best possible sound. Chris Speed - "Emit" (Songlines, 2000). Somewhat similar to the Shepik (with more klezmer, as opposed to Balkan, ifluences) disc mentioned above, but definitely less pritty and more dissonant. Speed is a very skillful and quite original clarinetist (with very clean, nearly classical sound) anda solid tenor player. Cuong Vu is very Don Cherry-influenced, IMO, but comes up with some pretty melodies. And Jim Black is a drums maniac. Good stuff as well. Quote Link to comment Share on other sites More sharing options...
king ubu Posted January 17, 2006 Report Share Posted January 17, 2006 These discs sound good, David! I only have a trio disc by Shepik (Dip, Drip, soemthing like that), and know Speed from some sideman appearances, but both of them are definitely good musicians. Cuong Vu has an ambient/electro project in trio with an electric bassist and a drummer - I have one CD, mentioned in here before, I think. With that project you can hardly ever really hear his trumpet's natural sound, so it's hard to tell about a Cherry influence... but with Vu coming from (where again?, I think) Vietnam, Cherry makes some sense. ***** I picked up a few interesting-looking discs in a sale, one by Sticks and Stones (never heard them before), a trio disc by Fresu/Salis/di Castri (P.A.F.), that Dave Douglas/Louis Sclavis/Peggy Lee/Dylan van Schyff disc, and another by Aki Takase with Mahall, this time by her "Aki and the Good Boys" ensemble (Enja Weber). ***** Here's my Derek Bailey hommage broadcast from last Sunday, in case you missed the other thread: >link< Quote Link to comment Share on other sites More sharing options...
king ubu Posted January 19, 2006 Report Share Posted January 19, 2006 This may be of interest... never had a chance to hear it before. Quote Link to comment Share on other sites More sharing options...
John B Posted January 19, 2006 Report Share Posted January 19, 2006 These discs sound good, David! I only have a trio disc by Shepik (Dip, Drip, soemthing like that) I like the album Drip, but think that the one David bought is the better of the two. Both are well worth hearing, if not essential. Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted January 19, 2006 Report Share Posted January 19, 2006 I'm in NYC, and picked up some music. Brad Shepik - "The Well" (Songlines, 2000). Good stuff, if a bit too polished. With a significant does of Balkan / Middle Eastern influence with all the tricky dance rhythmos and grooves. I really enjoy Shepik's guitar sound and the way he builds his solos. Peter Epstein on alto and soprano saxophones adds the most dissonance here with some pretty tense solos. Very stroing melodies. Barre Phillips - "Journal Violone 9" (Emouvance, 2001). Solo bass Well, Phillips is by favorite bassist, and this is as good as anything he has recorded, withthe best possible sound. Chris Speed - "Emit" (Songlines, 2000). Somewhat similar to the Shepik (with more klezmer, as opposed to Balkan, ifluences) disc mentioned above, but definitely less pretty and more dissonant. Speed is a very skillful and quite original clarinetist (with very clean, nearly classical sound) and a solid tenor player. Cuong Vu is very Don Cherry-influenced, IMO, but comes up with some pretty melodies. And Jim Black is a drums maniac. Good stuff as well. Actually, I have to make a reassessment of the Chris Speed disc. There are less klezmer influences and more rock ones ("Red"-era King Crimson) than I perceived at the first time. It is interesting to hear how differently the same (and excellent) electric bassist Skuli Sverrisson plays on Shepik's and Speed's discs. On Shepik's it's all clean and danceable, very rhythm-focused; on Speed's it is much more prominent, aggressive and dissonant, less bound to rhythm-keeping. But, after several listens to each, I reiterate - both are very strong discs. Bought some amazing music here, including stunning new Jacques Coursil on Tzadik and some (a lot, actually) other stuff - will write more later. Quote Link to comment Share on other sites More sharing options...
John B Posted January 22, 2006 Report Share Posted January 22, 2006 from Emanem's news page: In preparation on Psi: Evan Parker 'The Topography of the Lungs' (1970) reissue plus with Derek Bailey & Han Bennink I've heard about this album for years and am really looking forward to hearing it. Hopefully it is actually scheduled for release soon and not just a dream of theirs. Quote Link to comment Share on other sites More sharing options...
Geoff Posted February 3, 2006 Report Share Posted February 3, 2006 where did everyone go? Quote Link to comment Share on other sites More sharing options...
gnhrtg Posted February 6, 2006 Report Share Posted February 6, 2006 Quote Link to comment Share on other sites More sharing options...
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