HDTenEightyP/NetNews huggingface dataset:
From: larry@st-andy.uucp (Larry Martell)
Subject: Re: Tonight Show Theme Song
Reply-To: uunet!st-andy!larry (Larry Martell)
Organization: RMJ Securities Corp.
Distribution: rec.music.bluenote
Date: Mon, 6 Apr 1992 14:02:41 GMT

In article <1992Apr4.062857.23254@casbah.acns.nwu.edu> booyacht@casbah.acns.nwu.edu (Ryan Lucas) writes:
>>>  The jazz saxophonist Branford Marsalis, who takes over May 25 as
>>>musical director of "The Tonight Show", 
>>
>>Does anyone know who else will be in the band?
>>-- 
>
>I heard it was his working band: Bob Hurst, Jeff Tain Watts and Kenny Kirkland,
>but then I read in r.m.b that Kenny had left the band.  I don't know whether
>he actually quit, or if someone just assumed he did since he released a solo
>album.  Can anyone clarify this?

I don't know if KK left the band permanently or not, but when I saw Branford
in NYC in the fall, someone in the audience asked what happend to KK. Branford
said he wasn't available when they wanted to cut the new album. They were
going to wait for him, but then they decided to do the album and tour as
a trio. 

BTW, it seems hard to believe that a group as creative as Branford's 
band would be content in that Tonight show gig (unless it doesn't take up
too much of their time).
-- 
Larry Martell                  "Opinions are like assholes; everybody has one, 
212-668-9478		        but nobody wants to look at the other guys"
uunet!st-andy!larry
From: rardin@binah.cc.brandeis.edu
Subject: Re: JACO PASTORIOUS LIVE CDs (was: Weather Report CDs)
Reply-To: rardin@binah.cc.brandeis.edu
Organization: Brandeis University
Date: Fri, 10 Apr 1992 05:06:47 GMT

In article <1992Apr9.212410.26681@cunews.carleton.ca>, wcsanil@alfred.carleton.ca (Anil Prasad) writes:
>While we're on the topic of Weather Report CDs, I've seen *many* live
>Jaco Pastorious CDs listed in various catalogs. Most of them are
>from Japan and Italy. But there's an american released called
>"JACO LIVE IN ITALY" that I'd like more info about. There are other
>discs with titles like "Live In NYC pt. 1, 2, 3" "Honestly Solo Live"
>among others.
>
>Any info is greatly appreciated.
>
>Anil Prasad
>wcsanil@ccs.carleton.ca

The 3 volumes of LIVE IN NEW YORK CITY (Big World 1001, 1002 and 1003) are
pretty poor as far as sound quality goes.  The larger group material is
especially bad--the horns sound like they're playing from backstage.  The mix
is not too great anytime.  Volume 1 (PUNK JAZZ) is based on the trio of Jaco,
Hiram Bullock (g) and Kenwood Dennard (d), with the addition of Alex Foster
(s), Butch Thomas (s), Delmar Brown (synth), Michael Gerber (p) and Jerry
Gonzalez (t and congas) on 5 of the 8 cuts.  Volume 2 (TRIO) features the
Pastorius-Bullock-Dennard trio.  The trio work on Volumes 1 and 2 is not as
bad sonically and some of the performances are pretty exciting.  There's no
indication of when these recordings were made.  Does anyone happen to know
when they were made???

The Jazzpoint recordings were made while Jaco was on tour in Europe in March,
1986.  Here are the that 3 I'm aware of:
 
"HONESTLY" SOLO LIVE (Jazzpoint 1032)
"LIVE IN ITALY" (Jazzpoint 1031)
STUTTGART ARIA (Bireli LaGrene and Jaco--Jazzpoint 1019)
 
These recordings are much better sonically than the BW recordings.  HONESTLY
features Jaco playing live solo performances that are totally improvised, but
incorporate bits and pieces of his songs and other tunes.  These recordings
are not from a single concert, but are a collection of Jaco's solo 
performances from the tour (as I understand it).  LIVE features Jaco with Bireli
LaGrene (g) and Tom Borocz (d).  ARIA is a studio recording made in Stuttgart
and features LaGrene and Jaco, as well as Vladislaw Sendecki (keys), Jan
Jankeje (synth. bass on 2 cuts), Peter Lubke (d) and Serge Ringolf (perc).
I can't tell from the liner notes whether this recording was made before or
after those made in Italy (they all say March, 1986).  The following claims
are made in the liner notes: "Several records of live concerts with Jaco
Pastorius have been released since his death.  But buying most of them is a
risk because of their bad sound quality.  The tracks on this album were
recorded on one of his last tours through Italy, using real studio equipment,
not a walkman."  I guess from what I've heard, I would have to agree.
 
-Lynn Rardin (rardin@auriga.rose.brandeis.edu)
From: smehta@kwela.nynexst.Com (Sandeep Mehta)
Newsgroups: rec.music.bluenote
Subject: Re: Arthur Blythe recommendations
Date: 14 Apr 92 23:00:24 GMT
Reply-To: smehta@nynexst.com
Organization: Speech Technology, AI Lab, NYNEX S&T Inc, White Plains, NY


> mcnamara@vixvax.mgi.com writes:

> 	I have got a few Arthur Blythe recordings (Da-Da, In The
> Tradition, and Put Some Sunshine In It come to mind), and would like
> to have some more.  The problem is that at least one of these
> (Sunshine) is fairly poor (IMHO trying to do fusion ....).
> 	So what are your recommendations?

I can immediately think of 2 pre-80's, pre-Columbia dates which are
excellent: THE GRIP (India Navigation) and BUSH BABY (Adelphi). They
are out of print so you'll have to take a chance w/ used and cut-out
vinyl bins.

Of the Columbia years I have two 1980 recordings: IN THE TRADITION
which you've already mentioned and the very nice LIGHT BLUE: Arthur
Blythe Plays The Music Of Thelonious Monk. I particular like the
choice of tunes on this album. Also having a bass-less group, using
Bob Stewart's tuba instead, on Monk pcs I think was a bold and
creative choice.
 
The above are all leader dates. Two sideman dates that I highly
recommend are Lester Bowie's THE 5TH POWER, an early Black Saint
recording, and the other is available as a reissued CD by RCA called
WEST COAST HOT which is a really 2 albums one a Carter-Bradford date
and the other a Horace Tapscott Quintet date where Blythe debuts.

/sandeep
--
smehta@nynexst.com
--
"An artist is never ahead of his time but most people are far behind theirs."
	-- Edgard Varese
From: alan@sierra.unr.edu (Alan McKay)
Newsgroups: rec.music.bluenote
Subject: Re: Mingus, "New Tijuana Moods" (who plays on it?)
Date: 8 Apr 92 15:09:36 GMT
Reply-To: alan@sierra.unr.edu (Alan McKay)
Organization: Desert Research Institute, University of Nevada

In article <Apr.6.14.52.26.1992.22940@ruhets.rutgers.edu> bweiner@ruhets.rutgers.edu (Benjamin Weiner) writes:

>If anyone is reading this who has never heard the album, it
>is a high point of small-group jazz, including some fine
>trumpet and sax-playing, and the incredible bass of Mr. Mingus -


Who plays on NTM? In particular, I'd be interested to know who played
sax and trombone (I'm assuming that Mingus held true to form on this 
and used a 'bone player). Thanks in advance.

...Al
w.a. mckay
desert research institute
reno, nevada
Xref: sparky rec.music.bluenote:3257 rec.music.makers:5534
From: bad@pismo.sw.stratus.com (Bruce Dumes)
Newsgroups: rec.music.bluenote,rec.music.makers
Subject: Re: Hip Chord Voicings
Date: 9 Apr 92 19:32:27 GMT
Followup-To: rec.music.bluenote
Organization: Stratus Computer, Software Engineering

In article <1992Apr8.184528.17699@icd.ab.com> jaz@icd.ab.com (Jack A. Zucker) writes:
>BTW, I love the sound of b9 and #9 in the same chord.

Me too.  But you can't get much worse than a b9 and natural 9 in the same
chord.  (Except maybe a natural 7th on a dominant seventh chord ;-) )

Bruce


-- 
Bruce Dumes			| "Bruce is too obsessed with the Beatles"   |
Stratus Computer, Inc.		|   --comment on report card from Spring '64 |
bad@sw.stratus.com              
508-460-2816                    
Newsgroups: rec.music.bluenote
From: doom@elaine5.Stanford.EDU (Joseph Brenner)
Subject: Re: Sun Ra
Organization: DSG, Stanford University
Date: 13 Apr 92 01:23:43


My favorite Sun Ra cut is "Space is the Place", and I
believe it's featured on an LP of the same title.  

A friend of mine who has seen them play says that this piece
is their theme song: it's included in every performance. 

        There's no limit
        To the things that you can do...
        Your thought 
        is free... 

Newsgroups: rec.music.bluenote
From: glazer@spot.Colorado.EDU (GLAZER STACEY ANN)
Subject: Re: Arthur Blythe recommendations (for James Barnett)
Organization: University of Colorado, Boulder
Date: Wed, 15 Apr 1992 20:17:25 GMT

In article <SMEHTA.92Apr14180024@kwela.nynexst.Com> smehta@nynexst.com writes:
>
>> mcnamara@vixvax.mgi.com writes:
>
>> 	I have got a few Arthur Blythe recordings (Da-Da, In The
>> Tradition, and Put Some Sunshine In It come to mind), and would like
>> to have some more.  The problem is that at least one of these
>> (Sunshine) is fairly poor (IMHO trying to do fusion ....).
>> 	So what are your recommendations?
>
>I can immediately think of 2 pre-80's, pre-Columbia dates which are
>excellent: THE GRIP (India Navigation) and BUSH BABY (Adelphi). They
>are out of print so you'll have to take a chance w/ used and cut-out
>vinyl bins.
>
I've seen The Grip and Metamorphosis packaged together from Cadence
(India Navigation) on one cd - pre-80's.  Also other pre-80's Blythe I'd
recommend are: Charles Tyler, Voyage from Jerico and Steve Reid's: Odyssey
of Oblong Square.  Both albums have Blythe and Ahmed Abdullah as sdiemen.
Blythe also recorded with David Murray and Jack deJohnette on ECM.  He has
a new release on Enja that is his best recording in a long time.  He uses
different combinations of instumentation.  It's called, Hipnotism.

James Barnett.
From: smehta@kwela.nynexst.Com (Sandeep Mehta)
Newsgroups: rec.music.bluenote
Subject: Re: Black Saint availability
Date: 17 Apr 92 18:49:40 GMT
	<1992Apr13.165948.16815@cbnewsl.cb.att.com>
	<1992Apr15.123145.25292@telesciences.com>
Reply-To: smehta@nynexst.com
Organization: Speech Technology, AI Lab, NYNEX S&T Inc, White Plains, NY


> jbulyk@telesciences.com (Jerry E. Bulyk) writes:

> Turns out Sphere is being run by Bonandrini's son, so if anyone 
> should be able to get the BS/SN catalog, he should. In a telephone 
> discussion with him, I brought up the issue of trying to distribute 

Really?? I bumped into one of Sphere's employee's @ a Braxton gig
last month and he didn't mention any such thing. Dennis, the guy who
runs Sphere out of a JFK cargo bldg, took over Sphere from its
previous owners. As far as I know they weren't connect w/ BS/SN and
were actually DIW distributors and lousy ones at that. Moreover, I
think Dennis runs Sphere out of the same space as his parents who
have an import business of some sort. Other than that I don't think
there is any "relation" w/ BS/SN.

Anyway the news about BASE is certainly encouraging. I do know that
Waterloo in Austin, TX gets a fair number of BASE reissues. Maybe
Murari can find out where they're getting them?

/sandeep
--
smehta@nynexst.com
--
"An artist is never ahead of his time but most people are far behind theirs."
	-- Edgard Varese
From: mingus@cbnewsl.cb.att.com (Damballah Wedo)
Newsgroups: rec.music.bluenote
Subject: Re: Mingus, "New Tijuana Moods" (who plays on it?)
Date: 13 Apr 92 17:07:19 GMT
Organization: The Poto Mitan in the Houmfor

> sjones@alfred.carleton.ca (Stan Jones) (in <sjones.702829683@cunews>):
> [ lineup to the album deleted ] 
>          Ysabel Morel: castanets (and assume the inspiration for the
>                        tune Ysabel's Table Dance)

Ysabel Morel may have provided the *name* to "Ysabel's Table Dance".
The *inspiration* for the tune was a trip Mingus and Dannie Richmond
took to Tijuana and its sex palaces in the summer of 1957. See Brian
Priestley's book for details. This trip may or may not have been the
source of the BENEATH THE UNDERDOG anecdote that has Mingus doing it
with 23 different women, one after the other, and then "doing it to
[him]self because none of them could satisfy [him]."
-- 
Marcel-Franck Simon             	mingus@usl.com, usl!mingus

	" Papa Loko, ou se' van, ou-a pouse'-n ale'
	  Nou se' papiyon, n'a pote' nouvel bay Agwe' "
From: ejohnso@ccu.umanitoba.ca (Eric Johnson)
Newsgroups: rec.music.bluenote
Subject: Musicians in Movies   was: Jon Hendricks in White Men Can't Jump
Date: 12 Apr 92 19:26:40 GMT
Organization: University of Manitoba, Winnipeg, Canada

>For that matter, are there other unexpected treats in other movies out
>there?  You know, like Miles Davis as one of the parking lot attendants 
>in "Ferris Bueller's Day Off"? (just kidding :-)

How about Miles, Dave Sanbourn and Paul Schaffer playing "We Three Kings"
in "Scrooged".
-- 
_______________________________________________________________________________
	Eric Johnson	         |  Commit random acts of kindness
	ejohnso@ccu.umanitoba.ca |        	and
	BITNET:ejohnso@UOFMCC    |        senseless beauty.
Newsgroups: rec.music.bluenote
From: karish@mindcraft.com (Chuck Karish)
Subject: Re: L.A. jazz history info NEEDED!
Organization: Mindcraft, Inc.
Date: Wed, 8 Apr 1992 19:56:09 GMT

In article <ku3nnnINNpcc@west.west.sun.com> jimh@ism.isc.com (jim hori) writes:
>
>One person who seems to know about this period is a DJ named Will Thornberry.
>At one time he and I and some others were brainstorming cultural projects we
>were interested in producing and he mentioned the lack of knowledge in the
>general community about LA's jazz heritage. His proposal was a re-creation
>over a weekend of the Central Avenue scene.

Another who would get behind this idea with a lot of
enthusiasm and maybe even some follow-through is
Johnny Otis.  Send mail to him through KPFK in
LA or KPFA in Berkeley, or ask the Sebastopol
operator for his phone number.

	Chuck Karish		karish@mindcraft.com
	Mindcraft, Inc.		(415) 323-9000
Newsgroups: rec.music.bluenote
From: plummer@cs.swarthmore.edu (David Barker-Plummer)
Subject: Re: Chick-Round II
Organization: Swarthmore College, Swarthmore, PA
Date: Thu, 9 Apr 1992 13:53:23 GMT

In article <17570271@hpfcso.FC.HP.COM> mjs@hpfcso.FC.HP.COM (Marc Sabatella) writes:

MS> I recently read an article about <some-singer-I-think> who
MS> complained of this, saying, "I'll bet no one went up to Van Gogh
MS> and asked him to paint _Starry Night' again".  Was that here, or
MS> perhaps in the newspaper, that I saw this?

On the live Joni Mitchell album "Miles of Aisles", people in the
audience are calling out requests to her between songs, and she makes
this remark in response.  It got a laugh at the time, and made it onto
the album...

Ob Jazz: Does anyone know what Bela Fleck and the Flecktones are up
to?  Is there a new album in the works, or a tour perhaps?

-- Dave
Newsgroups: rec.music.bluenote
From: srcd@faraday.physics.utoronto.ca (Solomon Douglas)
Subject: Re: Night in Tunesia / Interlude
Organization: Dept. of Physics, Univ. of Toronto
Date: Fri, 10 Apr 1992 03:17:05 GMT

In article <92099.145324KXN2@psuvm.psu.edu> KXN2@psuvm.psu.edu (Karl Nordstrom) writes:
>Which lp did the famous Charlie Parker explosive rif first appear on?

The only studio recording that I'm aware of is actually one of my favorite
recording sessions of all time: March 28th, 1946 in Hollywood.  That's
where they did Moose The Mooche, Yardbird Suite, Ornithology, and Night In
Tunisia.  Whoa.  As to what LP it appeared on?  According to _The Charlie
Parker Discography_, it was Spotlite 101 (2nd pressing).  I have it on the
two-CD Dial compilation on Stash (Stash ST-CD-23 and ST-CD-25).  According
to the liner notes, this version of Tunisia first appeared on Dial 1002 (I
guess that's a 78.)

I have heard the same famous alto break (well, almost the same... I
transcribed all the versions I could find, and there are slight
differences) on some live recording.  Note that at the famous Massey Hall
concert he doesn't play the same break.

Have fun...

Solomon
-- 
 Solomon <|>   srcd@faraday.physics.utoronto.ca
 Douglas /|\   srcd@sq.sq.com
Newsgroups: rec.music.bluenote
From: gidi@Hilbert.Stanford.EDU (Gidi Avrahami)
Subject: Re: Dave Holland
Originator: gidi@Hilbert.Stanford.EDU
Organization: Brotherhood Of Breath
Date: Sat, 11 Apr 1992 05:31:22 GMT


tcw@kepler.unh.edu (Timothy C Webb) writes:
>   Can anybody recommend some good albums with Dave Holland on bass (excluding
>anything recorded under his own name)? 

First, the raw data:

Miles Davis:
	Double Image (on the italian label Moon Records)
	Filles De Kilimanjaro (2 tracks)
	Water Babies
	In A Silent Way
	Bitches Brew
	At Fillmore
	Big Fun (2 of 4 sides)
	Live-Evil (1 track)
	Directions (2+ of the 4 sides)
	The Circle In The Round (2 tracks)
Chick Corea:
	The Song Of Singing
	A.R.C.
	Circling In (about half, mostly as Circle)
Circle: (w/Chick Corea, Anthony Braxton, Barry Altschul)
	Paris Concert
	Circle (?)
Collin Walcott:
	Cloud Dance
Kenny Wheeler:
	Deer Wan
	Gnu High
	Double, Double You
	The Widow In The Window
	Music For Large & Small Ensembles
Gateway: (w/John Abercrombie, Jack DeJohnette)
	Gateway
	Gateway 2
Carla Bley:
	Tropic Appetites


If you like his small groups then the Kenny Wheeler stuff is really
another view of a similar concept.  On the Miles Davis sessions he is
mostly playing electric in a fusion context, except that in FILLMORE
you can hear Holland/Corea/DeJohnette trying to get free.  Free is
what he did with Corea and of course Braxton.  (See the Chick Corea
thread for how different people react to Corea's free jazz days...)

I take back some of what I said about his playing with Miles.  Check
side 3 of BIG FUN (Go Ahead John) for some very tight intercation
with Jack DeJohnette, as each horn or guitar takes turns in forming
as a trio.  It's one of the finest sessions of that period.

I'm looking at this list and it's funny...  I don't have many of these
records but those that I do, I really like.  DOUBLE DOUBLE features
Michael Brecker on one of his (rare?) powerful trips.  GNU HIGH has
Keith Jarrett setting some of the mood.  Both have JDJ, with whom DH
obviously has a lot of empathy.  GATEWAY has a bluesy twist on the ECM
atmospherics.  APPETITES is my favorite Carla Bley project, and DH
contributes a neat cello and some fat, funky bass.


--Gidi
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Newsgroups: rec.music.bluenote
Subject: Re: Arthur Blythe recommendations (for James Barnett)
Date: 15 Apr 92 21:12:09 GMT
Organization: Educational Computing Network

Hipmotism is good, I recommend it.  I remember some old onces with James
Blood and Bob Stewart on tuba... very nice ornettish funk.

jeff
Newsgroups: rec.music.bluenote,rec.music.makers
From: william sadler <wsadler@copper.ucs.indiana.edu>
Subject: Re: Hip Chord Voicings
Organization: Indiana University
Date: Fri, 10 Apr 1992 12:05:31 -0500

In <1992Apr10.025053.4733@helios.physics.utoronto.ca> srcd@faraday.physics.utoronto.ca (Solomon Douglas) writes:


>But I don't see a problem with the pianist hitting the #9 and b7 (that's
>what a #13 is, which you'd never see in a chart, or did you mean b5 or
>something?) at the same time as the sax player hits the b9 and b13 --
>they're all in the same scale, all in the same chord, so they go together
>fine.  That's the point of replacing "G7(b13#11#9)" and "G7(b9#5)" and

I pointed out the #9 and the #5 conflicting with the b5 and b9.
Depending on what scale you sue it may or may not be a conflict.
I was just explaining the justification for this as it was given to
me.  I don't always do it in practice.

>On the other hand, if the pianist hears the saxophonist playing the natural
>five and the flat nine, s/he should use a diminished voicing rather than an
>altered voicing, because those *are* different scales.

>Do you see what I mean?

Yep, that is the point I was making.

>I disagree...  To me, "half-diminished" is a completely separate idea, I
>don't think of it as meaning "diminished with minor seventh" or as "minor
>seventh with flat five".  Because to me it *isn't* a minor chord with a
>flat five, it's a completely different chord. 

Functionally, usually a ii7(b5) occurs in minor keys before a V7(b9,b5).
It is thereby functioning as a minor chord with an altered 5th.  But,
this kind of analysis is based on its function in a particular context.
In a different context it might have a different meaning.

>Hmmm...  I sense that this discussion of "hip chord voicings" is
>degenerating into a religious battle about terminology...  Sorry about
>that, I'll shut up now. :)

No problem.  I have a lot of problems with any system and usually just
do what I think is best in a given situation.

Will
-- 
**********************************************************************
*Will Sadler		Indiana University Law School-Bloomington    *
*will@ogre.cica.indiana.edu	wsadler@copper.ucs.indiana.edu       *
**********************************************************************
Newsgroups: rec.music.bluenote
From: derrigfj@craft.camp.clarkson.edu (Frank J. Derrigo)
Subject: news on NAKED CITY/MR. BUNGLE albums?
Organization: Clarkson University
Date: Fri, 17 Apr 1992 02:59:17 GMT

I would greatly appreciate any news on the upcoming album
from John Zorn's Naked City (not Torture Garden, a full-
length album, the name of which escapes me).  I haven't 
heard a release date yet.  

I was also wondering if Mike Patton is going to guest on the 
album.  I know he's sang with the band a few times in concert.
I imagine (don't want to misspell his name) Eye will still
be hollering away.  

Also, is there any word on a new release by Mike Patton's 
Zorn-produced Mr. Bungle?  I didn't imagine they'd do another
album, but I know they've been doing alot of new material in
concert, and Patton's obviously still working with Zorn (which,
by the way, I thing is an absolutely wonderful collaberation--
being a fan of both jazz and certain off-the-wall rock).  

Please e-mail or post any info you may have on either of these
bands.  Thank you in advance.

-Frank Derrigo (derrigfj@logic.camp.clarkson.edu)


Newsgroups: rec.music.bluenote
From: tcw@kepler.unh.edu (Timothy C Webb)
Subject: Dave Holland
Organization: University of New Hampshire  -  Durham, NH
Date: Fri, 10 Apr 1992 18:59:10 GMT

   Can anybody recommend some good albums with Dave Holland on bass (excluding
anything recorded under his own name)? Being a bass player myself, I've
developed a great respect for his playing, and would greatly appreciate any
suggestions of recordings featuring his incredible work. 
-- 
:::::::::::        ::::         ::::::   
 <<<<<<<<<<<      >>>>   >>>   >>>>>>    Tim Webb   tcw@kepler.unh.edu
     ????        ????  ?????  ?????    _________________________________
      ((((      (((( ((((((( (((((   
       ####    ########  #######       "The challenge is to chase the sound
        ||||  |||||||    ||||||      just to break away"   ---YES 

Newsgroups: rec.music.bluenote
From: hsu@sp24.csrd.uiuc.edu (William Tsun-Yuk Hsu)
Subject: Re: three more Incus items
Organization: UIUC Center for Supercomputing Research and Development
Date: Thu, 9 Apr 92 22:35:04 GMT

rshapiro@arris.com (Richard Shapiro) writes:

>Improvisation: Its Nature and Practice in Music, 2nd edition
> by Derek Bailey. 12.95 pounds (+ 2 pounds shipping for airmail)

Oh good. Now I won't feel too guilty about forgetting to make copies
of this for friends, when it was impossible to get :-).

I was actually a bit disappointed by it (or the edition I saw). It's
a slim book, based on some radio shows that Bailey did. He tries to
cover improvisation in music all over the world; there are chapters
on Indian music, flamenco, etc. There's also an interview with Steve
Howe (!). I think by trying to cover *everything*, he spreads himself
too thin. The chapters on the early British free improv scene are
very interesting though.

Good to hear the Bailey solos are back in print (in some form). I was
running around London trying to find the Evan Parker 4-lp set of solos,
with no success. Sigh. (Monoceros is not too hard to find, but the others
are impossible. There's a Metalanguage date Live at the Finger Palace
that's not included in the set, very rare but I have seen two copies.)

Bill