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Post by alunsevern on Oct 19, 2015 16:43:42 GMT
That looks very nice, dott -- and a rest from table tennis?
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Post by dottorjazz on Oct 19, 2015 19:15:20 GMT
no Alun, D2 team championship begun: two win after two rounds. and all other teams are adults... Attachment Deleted
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Post by alunsevern on Oct 21, 2015 8:10:12 GMT
Then you did well to fit in a record fair as well, dott. I haven't been to a record fair for -- oh, eight or ten years, I reckon. The only one I knew of that specialised in jazz was quite a long way away and in any case was declining in quality and number of traders. The others that happen more locally are general and mainly given over to rock and pop and of absolutely no interest...
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Post by saxoblues on Dec 10, 2015 12:02:11 GMT
recent purchase: Albert Ayler ghost on original Debut Label and Cecil Taylor live at the cafe montmartre on original Debut label
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Post by dottorjazz on Dec 10, 2015 18:53:18 GMT
great find! I feel a little less alone as Free Jazz fan. I've got all three Ayers on Debut and your Taylor. the one I haven't found yet is Nefertiti. anyone wanting to sell or trade it?
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Post by Martin on Dec 10, 2015 19:19:20 GMT
Dottor, I think I've recently seen a copy of Nefertiti. I don't know if it's a first pressing or what condition it is in but I could go back to the shop in question and find out more for you (assuming it hasn't been sold). I think it's the Fontana release rather than the Debut one.
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Post by dottorjazz on Dec 11, 2015 6:28:20 GMT
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Evan
Junior Member
Posts: 99
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Post by Evan on Dec 11, 2015 6:46:57 GMT
Not sure if these qualify as big scores, but I recently found original US stereo pressings of Art Pepper's SMACK UP and PLUS ELEVEN next to each other in my local shop. Covers had minor defects but the records themselves couldn't have been closer to mint. The worst you could say about each is that they may have been played. $30 each, what a bargain. Two superb albums, and the fidelity of original Contemporary records is to die for. I've even heard some express a preference for stereo with Contemporary originals - have any of you compared mono and stereo titles?
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Post by saxoblues on Dec 11, 2015 9:34:28 GMT
I have recently purchase Ascension from Coltrane , a Stereo copy , the side A i have the Edition 1 Version and side B the Edition 2 ( deadwax Edition II ).
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Post by gregorythefish on Dec 11, 2015 14:57:25 GMT
hey, dott, you know i love my free jazz too! great finds, evan! such a bargain! especially the smack up! saxo, i have both versions of ascension as originals, the one with and the one without edition two. are you saying you have one with one half of one edition on one side, and the other half of the other edition on the other side? what a whacky thing! one of mine is mono and one is stereo, but i do not recall which is which at the moment. no major recent purchases, although as mentioned in another thread, i did recently close a few little gaps in the quest to have all original impulse: stanley turrentine, an upgrade of a pharoah sanders, and the last missing shirley scott. enjoyable. not big news, though. and i bought some metal and such that i like. the new sunn O))), which alun's favorite band, if we recall . and a few other things that we don't tend to discuss much here.
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Post by gregorythefish on Dec 11, 2015 14:59:39 GMT
also, going on my yearly record hunting excursion in chicago over christmastime. sure to find one or two nice gems, as i always do.
free jazz fans might like to know: on my first trip to the chicago stores three years ago the first thing i found was a mint mono original of bill dixon's "intents and purposes" on RCA for a very nice price. still a treasured record to this day.
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Post by saxoblues on Dec 11, 2015 15:32:38 GMT
@gregory , yes it s exactly this , side 1 Edition 1 , side 2 Edition 2
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Post by gregorythefish on Dec 12, 2015 3:53:58 GMT
how strange. i wonder how such a thing happened?
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Post by saxoblues on Dec 22, 2015 9:02:23 GMT
last purchases : New York Art Quartet on esp 1004 and Paul Bley ( red cover ) Barrage on esp 1008
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Post by alunsevern on Dec 27, 2015 20:14:39 GMT
hI folks, I'll mention this here too because it seems relevant:
I've just read an excellent book about the early origins of free improvised music in England during the late-60s, called Beyond Jazz: Plink, Plonk, Scratch - the golden age of free music in London 1966-72 by Trevor Barre. It's a labour of love and a worthy addition to the very limited literature on this subject. I found it fascinating and some of the most interesting aspects were Barre's speculations regarding the social, economic, cultural and political landscape in which free music took root and which to some degree informed the thinking that gave rise to it. He sets out to answer the questions why free music? Why then? Why has this experimental movement survived?
I should say - just to be clear - that while he touches (inevitably) on free jazz, the real focus of the book is on the movement - I've free improvised music - which sought to jettison the constraints of conventional music, including jazz. Marvellous stuff, if you are interested.
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