Charles Ives (Hillary Hahn, Valentina Lisitsa) – Four Sonatas for Violin & Sonata
Ornette Coleman – Body Meta
Wes Montgomery – Smokin’ at the Half Note
Sam Rivers – Crystals
Gil Evans – the Complete Pacific Jazz Sessions
Sting and Gil Evans – Last Session
Steve Lacy and Roswell Rudd – Brilliant Corners
Steve Lacy and Roswell Rudd – Monk’s Dream
Steve Lacy – Cliches
Tord Gustavson – Being There
John Abercrombie and Andy LaVerne – a Nice Idea
Chick Corea and Gary Burton – Native Sense
David Gilmour – David Gilmour
Mobeius – Blotch
Cosmic Couriers – Other Places

…and much more.

Anthony Braxton in “Forces in Motion”:

“Harry Partch has profoundly affected me, but I’ve not been able to demonstrate what I’ve learned from this man. For instance, I’ve always wanted to put out my own records, like Mr. Partch did, but I’ve never had the money. His book would also be very inspirational, and my move to build instruments would come from Mr. Partch’s example. I think he’s a great composer too; he’s so underrated in this period it’s a damned shame. It’s an indictment of America that there’s no understanding of, or respect for, this man’s music.

The fact that he would look back to the ancients to understand better what music is, and then build a system based on the fundamentals — this is what connects me to Harry Partch because that’s exactly what I’ve been doing. And if I’m allowed to do my work in the future that’s exactly what I’ll continue to do: go to the ancients and to the scientists to understand better the route of a given information line and the transformational potential of music. Harry Partch short-circuited the whole post-Webern continuum and established a whole other area for investigation. The dynamic implications of his music, as well as its actual beauty, affected me and helped me develop the mind-set to begin looking at my own evolution.”


I wrote about SotL a while back….here’s the latest.

Lu Anne Henderson, who married Beat legend Neal Cassady at age 15. photo: Gerald Nicosia

Lu Anne Henderson, who married Beat legend Neal Cassady at age 15. photo: Gerald Nicosia

Caravan – Caravan
Caravan – If I Could Do It All Over Again, I’d Do It All Over You
Wayne Shorter – Super Nova
Weather Report – Weather Report
Miles Davis and John Coltrane – At Newport 1958
Mal Waldron and Steve Lacy – Mal Wdron with the Steve Lacy Quintet
Mal Waldron and Steve Lacy – At the Bimshuis
Contact – Five on One
Joe Beck – Brazilian Dreamin’
Herbie Hancock – Mwandishi
Herbie Hancock – Crossings
Marc Copland and John Abercrombie – Speak to Me


Bill Dixon, Franz Koglmann, Steve Lacy – Opium
Steve Lacy – We See
Steve Lacy – Moon
Jimmy Guiffre – the Easy Way
Ronald Shannon Jackson – Live at the Caravan of Dreams
James Blood Ulmer – Live at the Caravan of Dreams
Gil Evans – Priestess
Sam Rivers – Sizzle
Richard Davis – Epistrophy & Now’s the Time
WKCR Ornette Coleman Memorial Broadcast
Keith Jarrett, JS Bach – the French Suites
Peter Hammill – the Silent Corner and the Empty Stage
John Adams – Native and Sentimental Music
Rolling Stones – From The Vault, the Marque Club, Live in 1971
Hans Zimmer – Interstellar soundtrack

I was at these shows, my old review here. Here’s a review of the same shows from the NY Times:

July 6, 1997
Ornette Coleman gets the treatment
By Jon Pareles

Ornette Coleman is a soft-spoken man, with the gentle, earnest voice of an associate professor at a state college. You might never guess that he has shaken up jazz and set off unending debates about the nature of musical freedom; that he has been denounced as an ignoramus and, more and more often, hailed as a genius. Now 67 years old, Coleman comes across not as a defiant crusader but as a quiet, ceaselessly curious man who could never help seeing things a little differently.

”I sometimes realize,” he says, ”that there is something on the earth that is free of everything but what created it, and that is the one thing that I have been trying to find.”

Sitting in his Harlem office, he wears a brightly patterned shirt and an equally bright, if clashing, vest. His wardrobe is true to his music, which revels in multiplicity — multiple keys, multiple tempos and multiple moods, somehow set in equilibrium by the mysterious rules of his evolving theory of music.

He calls that theory harmolodics, a word merging melody and harmony, and despite his best efforts, it is not easily explained. It has to do with moving beyond chord structures and song forms toward emotions and gestures.

Coleman, who has performed with not only jazz musicians but also ecstatic pipers from Morocco and the Grateful Dead, among others, tunes to moods, not keys. ”If I was playing with you, I would use your sound as a tonic,” Coleman says. ”Everyone’s tone gives you lots of information. If someone talks to you, even if they don’t tell you how they feel, you can hear a certain thing in their tone. The human voice doesn’t have to transpose; all it has to do is change its attitudes.”

Coleman says he has never fit in musically, not even growing up in Texas, where he started playing alto saxophone. ”When I was playing in dance bands,” he recalls, ”one time the guy gave me a solo on ‘Stardust,’ and I started playing and people stopped dancing and they started listening. The guy fired me. It wasn’t that I was playing wrong. But I had outgrown my music environment.”

So he built his own. He formed a groundbreaking quartet in California, then brought it to New York, where it started arguments that have never ended. By the late 1950’s, he had already broken free of conventional harmony and theme-solos-theme structures. Yet his music was too tuneful, too gutsy, to be considered atonal. And while some listeners have been baffled by Coleman and his music, he has never been entirely rejected.

Still, in the past, Coleman has made bitter pronouncements about being underappreciated. Two decades ago, he was asking $300,000 per album and got no takers. ”I’ve never had an audience problem,” he insists. ”I’ve always just had a business problem. It’s very hard for anyone to become successful just by only doing what they do.”

In the 1970’s, when he repositioned his alto saxophone amid the electrified hurly-burly of his group Prime Time — two guitars, two basses, two drummers — rock fans started paying attention as jazz die-hards plugged their ears. A MacArthur Foundation ”genius” grant arrived in 1994. And this year, Coleman is getting the full treatment of a classical composer: membership in the American Academy of Arts and Letters and a full-scale retrospective in Paris.

This week Lincoln Center presents a four-night Coleman retrospective called ”? Civilization — A Harmolodic Celebration.” On Tuesday and Wednesday, his symphonic-length set of themes and variations, ”Skies of America,” will be performed by the New York Philharmonic and Prime Time. On Thursday, he is to rejoin the surviving members of his 1950’s quartet; on Friday, he performs a multimedia work, ”Tone Dialing,” with Prime Time, dancers, rappers and video.

In some ways, his music remains true to Texas, which breeds gutsy saxophone players and roadhouse hybrids. Yet Coleman is also one of jazz’s most urbane thinkers, graceful amid a flood of information, responding to everything around him while never looking back. Steeped in bebop, he knows the rules but dances around them, treating tonal harmony the way M. C. Escher treats perspective. And with all his sophistication, he reaches for the beauty of the untutored: the irregular lines of rural blues and country, the open-ended naturalness of a child’s made-up song. American art, always seeking wise innocents, has found one in Coleman; like Huckleberry Finn, he’s the country bumpkin who outwits the city slickers, a winning outsider who stays true to his own code.

Ornette Coleman – of Human Feelings
Ornette Coleman – Who’s Crazy
Ornette Coleman – Opening the Caravan of Dreams
Steve Lacy – 5 x Monk 5 x Lacy
Steve Lacy – November
Steve Lacy and Gil Evans – Paris Blues
Steve Lacy, Alvin Curran, Frederic Rzewski – Threads
McCoy Tyner – Inner Voices
Charlie Haden and Gonzalo Rubalcaba – Land of the Sun
Jimmy Giuffre – Fusion
The Jimmy Giuffre 3
Jimmy Giuffre – Western Suite
Jimmy Giuffre – Free Fall
The Modern Jazz Qt – Third Stream Music
Keith Jarrett – Rio
James Blood Ulmer – Tales of Captain Black
John Luther Adams – Strange and Sacred Noise
John Luther Adams – Inuksuit

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