All Things Hat

[GregK]

Thanks for the recommendations. I already have a few of them, so this time I ordered the Copland Haunted Heart, and probably wiill get the Brotzmann. A local store is clearing out his inventory (he's shutting the store down) so I will pick up a few Shipp and Ortega Hat titles there for 20% off (works out to about the same as these prices if you include shipping).

[relyles]

I ordered the following:

Marc Copland / David Liebman - Lunar

Ellery Eskelin -The Secret Museum

Ellery Eskelin - Forms

Jimmy Giuffre - Emphasis & Flight 1961

Richard Grossman - Even Your Ears

Franz Koglmann - We Thought About Duke

Mat Maneri - So What?

Misha Mengelberg - The Root of the Problem

[clifford_thornton]

I've not listened to any of Koglmann's recent work.

The Pipe records are interesting, as is the stuff with Reform Art Unit. But that is my only frame of reference.

[Matthew]

The temptation was too great to resist:

Peter Brotzmann: Tales Out of Time

Joe McPhee: Tenor & Fallen Angels

Cecil Taylor: One Too Many Salty Swift

Cecil Taylor: The Eighth

Mal Waldron / Steve Lacy: Live At Dreher Paris 1981

Anthony Ortega: New Dance

Anthony Ortega: Scattered Clouds

Darn this board....

[relyles]

Later I also ordered Myra Melford & Han Bennink - Eleven Ghosts. It is not included in the sale, but i believe Alan Lawrence only has a couple of copies left and then it will be OOP.

[Matthew]

Later I also ordered Myra Melford & Han Bennink - Eleven Ghosts. It is not included in the sale, but i believe Alan Lawrence only has a couple of copies left and then it will be OOP.

I would be interested to hear what you think of Bennik's playing on this one. I'll just say I have issues with what he does.......

[Adam]

Just received this:

Dear Friend,

The CDs hatOLOGY 610 and 639 are on the way to the distributors:

ANTHONY BRAXTON

PERFORMANCE (QUARTET) 1979

hatOLOGY 610

Reissue of the concert of September 1st, 1979 at Jazzfestival, Willisau

by Anthony Braxton-reeds, Ray Anderson -trombones,

John Lindeberg -double bass & Thurman Barker -percussion.

Total Time 71:13 AAD

Barcode 752157061021

***** in All Music Guide to Jazz!

The great advantage of having complete live concerts on record is that we can

hear also those intriguing spaces between the compositions: the improvisations

which take the group from point A to point B are also the areas in which some

of Braxton’s most radical notions have first been voiced. As we shall see,

Performance (Quartet) 1979 is of particular interest in this regard.

– Graham Lock, 2007

Le grand avantage de disposer sur disque de concerts live dans leur intégralité

est de pouvoir entendre également ces espaces fascinants entre les compositions :

les improvisations qui portent le groupe du point A au point B sont aussi ces temps

durant lesquels certaines des notions les plus radicales de Braxton se sont préalable-

ment exprimées. Comme nous l’entendrons, Performance (Quartet) 1979 est d'un

intérêt particulier à cet égard. – Graham Lock

Der große Vorteil von Alben mit kompletten Live-Mitschnitten von Konzerten liegt darin,

dass wir auch diese faszinierenden musikalischen Räume zwischen den Kompositionen

hören können: Diese Improvisationen, die das Quartett von Punkt A nach Punkt B führen,

sind nämlich auch die Passagen, in denen einige von Braxtons radikalsten Vorstellungen

von Musik zum ersten Mal umgesetzt wurden. Wie wir noch feststellen werden, ist

Performance (Quartet) 1979 in dieser Hinsicht von besonderem Interesse. – Graham Lock

OLIVER LAKE TRIO

ZAKI

hatOLOGY 639

Reissue of the live perfomance of September 1st, 1979 at Jazzfestival, Willisau

by Oliver Lake -saxophones, Michael Gregory Jackson -guitar and

Pheeroan akLaff -drums

Total Time 56:34 AAD

Barceode 752156063926

Lake’s trio functioned on a democratic basis. “I‘m not the boss. One of our concepts is

that we try to have an interplay. It’s not me being accompanied by the others. Pheeroan

may start something that I’ll pick up on. From that Michael may add something, and then

it will just keep on evolving and changing. We will sound like one flowing thing. It’s me

(and sometimes Michael) writing the tunes, but we are all on an equal level in terms of

where the music is coming from. We’ve been working together for three and a half years

and are very sympathetic to each other. I feel very, very comfortable. We tune into each

other and are very open inside. We play a melody and then try to go into other areas.

I don’t like to structure the middle part because that’s where improvisation comes in.

A preconceived structure would restrict us.” – Jürg Solothurnmann

Le trio de Lake fonctionnait de manière démocratique. « Je ne suis pas le patron.

Un de nos concepts propres est de tenter de générer une interaction. Ce n'est pas moi,

accompagné des autres. Pheeroan lancera quelque chose que je vais adopter. A cela,

Michael ajoutera autre chose, et puis le jeu musical continuera d’évoluer et de se

transformer. Et sera entendu comme une sonorité unique et fluide. C’est moi

(parfois Michael) qui écrit les airs, mais au moment de jouer nous sommes tous à un

même niveau d’égalité. Nous avons travaillé ensemble durant trois ans et demi et

sommes très solidaires. Je me sens très, très à l’aise. Nous nous accordons les uns

aux autres et sommes très ouverts dans notre fort intérieur. Nous jouons une mélodie,

puis essayons de pénétrer d’autres niveaux. Je n'aime pas structurer la partie

intermédiaire parce que c'est là qu’intervient l’improvisation. Une structure préconçue

nous limiterait. » – Jürg Solothurnmann

Lakes Trio arbeitete auf demokratischer Basis. „Ich bin nicht der Boss. Eines unserer

Konzepte lautet nämlich Interaktion und nicht, dass ich von den anderen begleitet werde.

Pheeroan kann mit einem musikalischen Gedanken einsetzen, den ich dann aufgreife.

Michael kann dem Ganzen etwas hinzufügen, und so entwickelt sich alles einfach

weiter und verändert sich ständig. Unsere Musik ist also immer im Fluss. Zwar schreibe

ich die Stücke (manchmal macht das auch Michael), aber musikalisch betrachtet sind

wir alle gleichberechtigt. Wir arbeiten seit dreieinhalb Jahren zusammen und kommen

wunderbar miteinander aus. Ich fühle mich sehr, sehr wohl. Wir harmonieren wirklich

gut und sind unserem inneren Wesen nach sehr offen. Wir spielen eine Melodie und

versuchen dann, in andere musikalische Räume vorzudringen. Ich halte nicht viel davon,

den Mittelteil zu strukturieren, weil genau dort die Improvisation ins Spiel kommt.

Eine vorher festgelegte Struktur würde uns nur einschränken.“ – Jürg Solothurnmann

Best regards,

Werner X. Uehlinger

Hat Hut Records LTD.

Box 521,

4020 Basel, Switzerland

wxu.hathut.com@bluewin.ch

Phone +41.61.373.0773

http://www.hathut.com

The Journey Continues the 33rd Year too!

Hat Hut Records Ltd. benefits from its partnership

with the Fondation Nestlé pour l'Art, Lausanne.

[king ubu]

was Oliver Lake an interesting player in 1979? (I think he's extremely boring nowadays... saw Trio 3 on occassion of their new CD and it was so lame... only Workman was any good...)

[Matthew]

Just a heads-up. Dusty Groove has some Hatolgy cd on sale at a great price.

[Chuck Nessa]

was Oliver Lake an interesting player in 1979? (I think he's extremely boring nowadays... saw Trio 3 on occassion of their new CD and it was so lame... only Workman was any good...)

Pretty strong opinion based on little evidence it seems.

I suggest you try "Talkin' Stick" from 2000.

[king ubu]

I'll catch Lake (with Trio 3 and Irene Schweizer) again on Saturday... hoping they'll all have a better night then!

I've heard other things with Lake, Chuck (live material mostly), though I confess not knowing him very well... anyway, one has to make choices necessarily, I don't have nearly as much money and time as I'd need to check out all that I could and actually would like to check out, and if a first live encounter is so very weak, that's just bad luck, but it might indeed steer me off in another direction...of course I might end up hearing someone again after a couple of years and have a totally different opinion, but I allow myself to have an opinion - not acting as if I knew the whole discography, of course, unless I do (and I never said I would with Lake).

[clifford_thornton]

Though I haven't spun his recent recordings, I can say that LIVE he is on excellent form these days.

If Zaki is anything like Clarity or the Black Saint and IAI collaborations (w/ Michael Gregory), it's safe to assume it's very good.

[Patrick]

Just a heads-up. Dusty Groove has some Hatolgy cd on sale at a great price.

I took too long to place an order--the Steve Lacy Monk tribute and the Koglmann/Konitz Duke tribute have stocked out. Maybe I got the last Shepp, I Know About the Life?

[Adam]

Just received this;

From: Werner X. Uehlinger [mailto:wxu.hathut.com@bluewin.ch]

Sent: Thursday, December 20, 2007 12:53 AM

Subject: Available now hatOLOGY 641 & 646

Dear Friend,

The following two CDs are available:

Steve Lantner Trio

What You Can Throw

Performed by Steve Lantner –piano; Joe Morris –double bass; Luther Gray –drums.

hatOLOGY 641

Total Time DDD 55:18

Barcode 752156064121

More informations on Steve Lantner:

http://www.allaboutjazz.com/php/review_print.php?id=27334

I’m still surprised when I hear new jazz, and Steve Lantner plays it, reconstituting

and reinventing the tradition. First hearing this trio, you’ll be struck by its sheer

kinetic joy, its ability to swing and to drive in ways that are central to jazz, without

simply repeating some specific events in that tradition. The opening of Joe Morris’s

“Routine Three” has a collective lope rarely achieved, an off-hand and off-kilter

movement that is immediate and reaches across time. –Stuart Broomer

Je suis toujours étonné lorsque j’écoute du nouveau jazz, et Steve Lantner en joue,

reconstituant et réinventant la tradition. En entendant ce trio pour la première fois,

vous serez surpris par sa joie cinétique, sa capacité à jouer en rythme et à entraîner

sur des voies qui sont essentielles au jazz, sans simplement répéter certaines

spécificités propres à cette tradition. L'introduction du « Routine Three » de

Joe Morris propose un rythme collectif rarement atteint, un mouvement brusque

et décalé qui est immédiat et se diffuse dans le temps. – Stuart Broomer

Es versetzt mich nach wie vor in Erstaunen, wenn ich neuen Jazz höre, Jazz in der

Form, wie ihn auch Steve Lantner spielt, der die Tradition ins Heute überträgt und

neu definiert. Hört man dieses Trio zum ersten Mal, wird man von der schieren

Freude an der Bewegung, von seinem Drive und seiner Art zu swingen, kurz: von

dem, was Jazz im Grunde ausmacht, beeindruckt sein, da sich die Spielweise der

drei Musiker nicht darin erschöpft, bestimmte Phänomene lediglich einer Tradition

entsprechend zu reproduzieren. Bei „New Routine“ von Joe Morris verfällt das

Ensemble gleich in eine schnelle musikalische Gangart, der man so nicht oft

begegnet: eine lockere und freie Rhythmik, die unmittelbar und intuitiv ist und

dabei die Zeit transzendiert. – Stuart Broomer

Theo Jorgensmann & Oles Brothers

Alchemia

hatOLOGY 646

Total Time DDD 57:58

Barcode 752156064626

Perhaps surprisingly for a conceptualist like Jorgensmann, “straightahead” jazzers

Tony Scott and Buddy De Franco now seem even more relevant to our updated

perception of Alchemia. Both were powerful clarinetists who brought idiosyncratic

phrasing and a harmonic bite to solos that balanced on the cusp of freedom.

The most impressive aspect of Alchemia, to my ears, is the trio’s ecstatic, elastic

freedom of line and design. Fluid internal tempo changes create spontaneous

shapes and intensify momentum, as the three push up against and out of alignment

with each other. In moments of nearly transparent texture, their lines hover and

revolve like figures in a Calder mobile, but as energy levels rise they thicken and

tumble in responsive friction. In the manner of Scott and De Franco, Jorgensmann

employs remarkable speed, facility, and inventiveness to escape the suggestion of

bar lines as indications of time, while avoiding bop clichés attached to the implied

harmonies. Alchemia is aptly titled—the process of transforming something common

into something precious is audible in every choice, every gesture, every move the

trio makes. –Art Lange

Peut-être surprenant pour un conceptualiste comme Jörgensmann, mais Tony Scott

et Buddy De Franco, jazzmen « purs et durs », paraissent aujourd’hui plus significatifs

encore en regard de notre perception actualisée d’Alchemia. Tous deux ont été des

clarinettistes marquants qui ont apporté aux solos un phrasé idiosyncrasique et un

mordant harmonique s’approchant très près de la liberté. L’aspect le plus impressionnant

d’Alchemia, à mon sens, est la liberté extatique, élastique de la ligne et de la composition

du trio. Les fluides changements internes de tempo créent des formes spontanées et

intensifient l'élan lorsque chacun des trois pousse contre et hors de son alignement avec

les autres. Dans des moments de texture presque transparente, leurs lignes oscillent et

tournent comme les éléments d’un mobile de Calder, mais lorsque les niveaux d’énergie

augmentent, elles s’épaississent et tombent en une friction réactive. A la manière de

Scott et De Franco, Jörgensmann utilise vitesse, aisance et inventivité afin d’échapper

aux indications de temps suggérées par les barres de mesure, ce, en évitant les clichés

bop liés aux harmonies tacites. Alchemia porte bien son titre : Le processus de

transformation de quelque chose de commun en quelque chose de précieux est audible

dans chaque choix, chaque geste, chaque mouvement du trio. – Art Lange

Bei einem Konzeptualisten wie Jörgensmann mag es überraschen, dass im

Zusammenhang mit unserer Rezeption von Musik, wie sie auf Alchemia zu hören ist,

den „straight ahead“ Jazzern Tony Scott und Buddy De Franco nunmehr besondere

Bedeutung zuzukommen scheint. Beide waren kraftvolle Klarinettisten, die mit ihrer

individuellen Phrasierung und ihren harmonischen Finessen neue Akzente in Solos

einbrachten, die an der Schwelle zur Freiheit balancierten. Alchemia besticht meiner

Meinung nach vor allem dadurch, dass das Trio die Freiheiten der melodischen Kontur

und musikalischen Struktur so ekstatisch und elastisch handhabt. Einem fließenden

Tempowechsel entspringen jedesmal spontan Figuren, wie sich auch die Intensität

steigert, wenn sich das Spiel der drei Musiker rhythmisch und melodisch aneinander

reibt und gegeneinander verschiebt. In Momenten, in denen das musikalische Geflecht

fast transparent erscheint, schweben und winden sich die einzelnen Linien wie

Elemente in einem Mobile von Calder, sobald jedoch Glut und Energie entfesselt

werden, verdichten sie sich, bis sie sich in der Reibung entladen und überschlagen.

Wie Scott und De Franco verbindet auch Jörgensmann enorme Rasanz mit größter

Leichtigkeit und schöpferischer Phantasie, um aus dem Ordnungssystem der

Taktstriche als Maßeinheit für die Strukturierung in der Zeit auszubrechen, während

seine Harmoniefolgen die üblichen Bop-Klischees vermeiden. Der Titel Alchemia ist

gewählt – der Prozess, etwas Gewöhnliches in etwas Kostbares umzuwandeln,

wird in jeder Wahl, in jeder Geste, in jeder Bewegung dieses Trios hörbar. – Art Lange

Best regards,

Werner X. Uehlinger

Hat Hut Records LTD.

Box 521,

4020 Basel, Switzerland

wxu.hathut.com@bluewin.ch

Phone +41.61.373.0773

http://www.hathut.com

The Journey Continues the 33rd Year too!

Hat Hut Records Ltd. benefits from its partnership

with the Fondation Nestlé pour l'Art, Lausanne.

[Adam]

From: Werner X. Uehlinger

Dear Friend,

End of February 2008, "the piano":

hatOLOGY 649:

Paul Bley · (12 + 6) In A Row [reissue]

Paul Bley –piano; Hans Koch –reeds (clarinets & saxophones);

Franz Koglmann –flugelhorn

Total Time DDD 59:08

Barcode 7 52156064923

As in any improvised music, there are challenges accepted, risks taken. Bley himself has suggested, as a measure of the success of free spontaneous music, asking “Is it eventful?” The next step, I propose, would be to ask oneself if each event is meaningful? (with the understanding that each listener will apply his/her own definition of that word to their personal response).

For me, the music on this disc is beautiful, humorous, provocative, confusing, even at times elegiac. All of which makes it undeniably human, and worth sharing. – Art Lange

Dans toute musique improvisée, il y a des défis à accepter, des risques à prendre. Pour évaluer la performance de l’improvisation libre, Bley a lui-même suggéré de se demander: «Est-elle riche en événements? » La question que je proposerais ensuite serait de se demander si chaque événement est significatif (Étant entenduque chaque auditeur appliquerait sa propre définition du mot à sa réponse personnelle).

Pour moi, la musique de ce disque est belle, humoristique, provocatrice, déroutante et même, à certains moments, élégiaque. Pleine de tout ce qui la rend indéniablement humaine et digne d'être partagée. -- Art Lange

hatOLOGY 651:

Russ Lossing – John Hebert · Line Up (N E W)

Russ Lossing –piano & John Hebert –double bass

Total Time DDD 55:43

Barcode 7 52156065128

It's a rich and varied tradition in which Lossing and Hebert locate themselves, and their duets are both an incidental celebration of the tradition and a commemoration of their working partnership.

John Hebert remarks of these duos, “This was a project that we put together as a document of years of playing together in various ensembles. I have known and played with Russ for just about 10 years now, and there aren't too many

musicians that I have such a unique bond with.” Russ Lossing adds, “John and I have developed a very close musical kinship, and friendship too. So, finally we recorded the duo after years of talking about it.” The relationship is apparent in all the ways Lossing and Hebert find to both interact and prod one another here, and the special ways they find to contrast their instrumental voices, from the fleet evenness of Lossing’s piano to the gritty expressiveness of Hebert’s bass. – Stuart Broomer

Lossing et Hebert se situent eux-mêmes dans une tradition riche et variée. Leurs duos sont à la fois une célébration incidentale de la tradition et une commémoration de leur partenariat musical.

John Hebert explique à ce propos: « C’est un projet que nous avons élaboré afin de documenter les années passées à jouer ensemble dans différentes formations. J'ai rencontré Russ et commencé à jouer avec lui voilà près de 10 ans, et rares sont les musiciens avec lesquels j'ai pu établir un lien aussi exceptionnel. » Russ Lossing ajoute:« John et moi avons développé une grande affinité musicale, et également de vrais liens d’amitié. Alors, après en avoir parlé pendant des années, nous avons finalement décidé d’enregistrer ce duo. » Cette étroite relation est évidente dans toutes les manières trouvées par Lossing et Hebert pour interagir et s’encourager l’un l’autre, dans toutes les modalités spécifiques utilisées pour créer un contraste entre leurs voix instrumentales, de la régularité fluide du piano de Lossing jusqu’à l’expressivité rebondissante de la basse d’Hebert. - Stuart Broomer

Best regards,

Werner X. Uehlinger

Hat Hut Records LTD.

Box 521,

4020 Basel, Switzerland

wxu.hathut.com@bluewin.ch

Phone +41.61.373.0773

http://www.hathut.com

The Journey Continues the 33rd Year too!

Hat Hut Records Ltd. benefits from its partnership

with the Fondation Nestlé pour l'Art, Lausanne.

[king ubu]

here's some old LP art to marvel at:

http://www.discogs.com/release/899964

[B. Clugston]

Upcoming releases

hat(now)ART:

141 Christian Wolff · Early Piano Pieces · Steffen Schleiermacher

149 Transatlantic Swing · John Snijders

152 John Cage · Sonates & Interludes · James Tenney

153 John Cage · Ryoanji

[reissue of hatART 6183]

4-154 Morton Feldman · For Philip Guston

[reissue of hatART 4-6104]

155 Morton Feldman · Trio

[re-release of 6195]

156 Morton Feldman · Piano, Violin, Viola, Cello

[reissue of hatART 6158]

157 Morton Feldman · Clarinet And String Quartet

[reissue of hatART 6166]

159 Naive? · Ustvolskaya, Zagny, Skempton, Garland & Messiaen · Steffen Schleiermacher

2-160 Morton Feldman · Triadic Memories & Piano · John Snijders

164 Earle Brown · Synergy

[reissue of hatART 6177]

165 Luc Ferrari · Piano & Percussion Works

168 Luciano Berio & Edison Denissov · La Vie En Rouge · Ensemble Für Neue Musik Zürich

hatOLOGY:

602 Joe McPhee, Lisle Ellis & Paul Plimley · Sweet Freedom–Now What?

[reissue of hatART 6162]

617 Albert Ayler · Berlin, Stockholm 1966

2-630 Horace Tapscott Quartet· The Dark Tree

[reissue of hatOLOGY 2-540]

2-640 Max Roach & Archie Shepp · The Long March

[reissue of hatART 6041 + 6042]

4-644 Anthony Braxton · Willisau (Quartet) 1991

[reissue of hatART 4-6100]

650 John Zorn, George Lewis, Bill Frisell · News For Lulu

[reissue of hatART 6005]

652 Pandelis Karayorgis, Nate McBride & Curt Newton · Betwixt mi3

654 David Liebman-Ellery Eskelin Quartet · Renewal

655 John Zorn, George Lewis, Bill Frisell · More News For Lulu

[reissue of hatART 6055]

656 Matthew Shipp Trio · Multiplication Table

[reissue of hatOLOGY 516]

657 Clusone 3 · Soft Lights And Sweet Music

[reissue of hatART 6153]

658 Anthony Braxton · Seven Compositions (Trio) 1989

[reissue of hatART 6025]

661 Westbrook-Rossini

[reissue of hatART 6002]

662 Mary Halverson, Reuben Radding & Nate Wooley · Crackleknob

[king ubu]

some interesting stuff there - Reuben Radding on hat, now that's cool!

The Westbrook-Rossini may be a nice one, too (I have the other one, I thought both were still fairly easy to find? Maybe I'm wrong and only the other one's still around...), also the Clusone!

Will the Shepp/Roach Roach/Shepp be remastered? Was the Braxton/Roach worth replacing?

Here's the Ayler Stockholm 1966 info I found on the Ayler site:

Stockholm, 1966:

Koncerthus, Stockholm, Sweden, November 10th, 1966

Donald Ayler (t), Albert Ayler (ts), Michel Sampson (vln), Bill Folwell (b), Beaver Harris (d)

‘Truth Is Marching In’ (8:43)

‘Omega Is The Alpha’ (9:59)

‘Our Prayer’ (7:49)

TV broadcast.

http://www.ayler.org/albert/html/unreleased.html

Berlin 1966 is part of the Revenant box - anotehr smart collision, as with Ayler records "Copenhagen Tapes" release:

Disc 5

1. Concert announcement by Ralf Schulte-Bahrenberg (1:10)

2. Ghosts / Bells (11:15)

3. Truth Is Marching In (7:07)

4. Omega (3:48)

5. Our Prayer (Don Ayler) (4:39)

Albert Ayler Quintet:

Albert Ayler (tenor saxophone)

Don Ayler (trumpet)

Michel Samson (violin)

Bill Folwell (bass)

Beaver Harris (drums)

November 3, 1966

Berlin Philharmonie, Berlin, Germany

Has the Berlin date been in the Ayler tree? I don't have the information at hand. (edited to correct Berlin/Stockholm)

Edited March 11, 2008 by king ubu

[NIS]

Any thoughts on release dates for those Hats?

[Late]

Any thoughts on release dates for those Hats?

Speculation, but it seems in general that Hat reissues appear about 18-24 months after they're announced. The Ayler release (the catalog #) has appeared on the back of other Hat issues for a while now.

I'm curious — does anyone here regularly purchase from the hatNOW series? Someone must (maybe people on a 20th Century classical forum?), as the series seems full of life. I've never purchased a title from that series, but have been thinking about it lately.

Also — reissues of hatOLOGY titles? I guess they're not limited editions.

[AndrewHill]

So is the Ayler disk "new" or that has that material been issued elsewhere? Regardless, I don't have it (I think) and it appears to be the same band on the Lorrach/Paris disk, which is one of my favorite lineups.

Thanks in advance.

HG

[jlhoots]

Any thoughts on release dates for those Hats?

Don't hold your breath.

Some will come out sooner than others.

The Long March has been announced as far back as 2004 (with a different catalogue number).

[GregK]

that Braxton Willisau is the 4-disc box, right?

[king ubu]

So is the Ayler disk "new" or that has that material been issued elsewhere? Regardless, I don't have it (I think) and it appears to be the same band on the Lorrach/Paris disk, which is one of my favorite lineups.

Thanks in advance.

HG

read my post above yours - I wondered about it too and looked around...

and now being on my own computer, I see that the Stockholm portion indeed is part of the Ayler tree (CDR4):

Donald Ayler-tp; Albert Ayler-ts; Michel Sampson-vln; Bill Folwell-b; Beaver Harris-d.

Koncerthus, Stockholm, Sweden, 661110.

5. Truth is marching in [Ayler] (8:43)

6. Omega is the alpha [Ayler] (9:59)

7. Our prayer [D. Ayler] (7:49)

I'll get any official release of this, of course! It's great to have most of the tree in official versions by now!

[AndrewHill]

So is the Ayler disk "new" or that has that material been issued elsewhere? Regardless, I don't have it (I think) and it appears to be the same band on the Lorrach/Paris disk, which is one of my favorite lineups.

Thanks in advance.

HG

read my post above yours - I wondered about it too and looked around...

and now being on my own computer, I see that the Stockholm portion indeed is part of the Ayler tree (CDR4):

Donald Ayler-tp; Albert Ayler-ts; Michel Sampson-vln; Bill Folwell-b; Beaver Harris-d.

Koncerthus, Stockholm, Sweden, 661110.

5. Truth is marching in [Ayler] (8:43)

6. Omega is the alpha [Ayler] (9:59)

7. Our prayer [D. Ayler] (7:49)

I'll get any official release of this, of course! It's great to have most of the tree in official versions by now!

I don't know how I missed that. Thanks for the info