Paging Late

[king ubu]

Please answer telling me whether you got my PM or not! I wrote you earlier today, but received the mail error message, so I don't know if my PM went through (it's not in the Sent Items folder)

ubu

(I will delete this thread later)

[relyles]

I sent you a reply to the pm you sent me that i am also not sure whether you received.

[king ubu]

I sent you a reply to the pm you sent me that i am also not sure whether you received.

You talkin' to me or to Late?

If me, you got my email address (I don't want to post it here, as I've been without spam so far)

ubu

[J.A.W.]

You talkin' to me or to Late?

If me, you got my email address (I don't want to post it here, as I've been without spam so far)

ubu

We can soon change that

[Jim Alfredson]

PMs should be going through, regardless of the mail server error. I'm working with my server guy to fix this problem.

[J.A.W.]

Message to Late: got your PM, thanks.

[relyles]

I sent you a reply to the pm you sent me that i am also not sure whether you received.

You talkin' to me or to Late?

If me, you got my email address (I don't want to post it here, as I've been without spam so far)

ubu

Late

[Late]

Hi All,

I sent off six PM's to board members, and I guess they all went through. And, yes, responses received! Thanks.

One thing about those two Koglmann recordings (and this will sound like I'm exaggerating, but I promise that I'm not): they are two of the very best-sounding discs in my entire collection. Amazing sonics.

What? Yup. Here's what's strange: I believe (just a guess based on close listening) that they were made on analogue equipment first, and then transferred to digital. (The notes don't mention either DDD or ADD.) The result is a surprisingly warm, LP-like recording with a lot of presence and air between the instruments. To me, these Between the Lines recordings come through on, and bridge the gap between, what labels like CIMP and ECM promise: the realness and spontaneity of CIMP, and the crystalline hear-a-pin-drop sonics of ECM.

At any rate, I guess my (originally private) enthusiasm has now become a little public. For anyone whose reading this and thinking what the?, I just wanted to give a heads-up on two particular recordings. Franz Koglmann's:

Make Believe

and

An Affair with Strauss

If you like Tony Coe, you might love these recordings.

All best,

Laton

[A Lark Ascending]

Just out of interest, what are the 'vocals' that Mr. Coe is credited with on the Strauss disc? I've never heard him sing!

[king ubu]

Thanks for clearing things!

B3-er, hope this problem will be solved as fast as each problem showing up on this board has been solved

ubu

[Late]

Bev, Coe sings on "Good Night Vienna," the last track on An Affair with Strauss. He doesn't embarrass himself, but he's certainly no singer — and I think he's aware of this while he's singing. (I would have liked to have heard a Lotte Lenya-esque singer try this one instead.) Coe arranged the standard for the band, and it's a short, wryly humorous outing. The tune itself is sentimentally sweet (in a good way), and Koglmann, perhaps wisely, placed the track at the disc's end.

A few more words about Coe, who has risen dramatically in my list of favorite reed players. He's perhaps the only tenor player I've ever heard who can — as I hear it — combine some of the essential stylistic devices of both Wayne Shorter and Sonny Rollins, two tenor players that, to me, are near opposites. With a tone that is sometimes reminiscent of Newk on Way Out West, Coe reaches the "color" tones of a chord a la Shorter (e.g. on Miles Davis's "Circle"), and the result is (especially for a former horn player) a marvel. In the end, however, Coe is Coe, and I think it's a shame that American listeners probably don't know his work (outside of Pink Panther fame) that well.

For better or worse, I'm becoming more and more disillusioned with young American tenor players. As a result, perhaps, Tony Coe and other European players (like Roman Schwaller) are increasingly filling my listening time.

[A Lark Ascending]

The lack of Tony Coe on disc is very sad. He is equally comfortable performing in a 'mainstream' style as in a more challenging environment.

I would very much like to see his 70s disc, 'Zeitgeist', out again which falls in the latter category.

I saw him a few years back open the Cheltenham Festival with a marvellous extended piece for large jazz band. No sign of it on record! Such a pity.

One plus - his 70s disc, "Coexistence", has just been reissued. A very nice, mainstream disc. Similar to the Zephyrs.

One UK tenor/soprano player to look out for is Iain Ballamy. He came out of a very fertile scene in the mid 80s surrounding a great big band (that term does them a disservice) called 'Loose Tubes'. He has a very distinctive tone, plays in a huge variety of contexts - a quartet called Anorak, in a collaboration with Norwegian musicians called 'Food' that moves into more avant-noise and electronic areas, in Django Bates various bands and in all sorts of other contexts. One of our best kept secrets. His recently released duo disc with accordion player Stian Carstensen, "The Little Radio", is a magical piece of totally distinctive music.

Another marvellous sax player from the Loose Tubes school is Julian Arguelles. He's building up a wonderful set of recordings on the Provocateur label. New one due soon.

Sorry. Gone right off topic!