WFMU: destination: OUT with Jeff Golick: Playlist from April 27, 2015

Listener comments!
	♥ 12:03pm Artie Haywire: I call these the Yay-horns.
	♥ 12:04pm Jeff Golick: Yay! Artie!
	12:04pm Dean: You do realize that you are currently competing with the Boredcast stream featuring Kenny G's inventory of flatulence?
	🦀 ♥ 12:09pm listener james from westwood: Hmmm ... putzing around with D:O or farting around with Kenny G?
	12:09pm Jeff J: How am I sounding out there in radio land? Relatively clear? Or is there interference?
	12:10pm Jeff J: Hey Artie, Dean, and LJFW! You'll want to keep it tuned here, of course. We'll got some next-level putzing happening shortly.
	♥ 12:11pm Doug Schulkind: Jeff and Jeff, I send you chaps an email regarding sound quality.
	12:11pm glenn: if jeff and jeff renamed themselves as thomas, they could be the d:outing thomases. just sayin'.
	🦀 ♥ 12:12pm listener james from westwood: I look forward to plotzing over your putzing.
	12:13pm Dean: This tune was updated by The Deadbeats as "Kill the Hippies."
	♥ 12:13pm Jeff Golick: Yah, we got toots from some flutes.
	12:15pm Dean: All I can say is Kenny G brings new meaning to "Destination, out!"
	♥ 12:15pm Polyus: I take it people have seen Peter Stampfel's comments about Bernard Stollman this past week?
	♥ 12:17pm Jeff Golick: Hey, @Polyus. Didn't see! You got a link?
	♥ 12:17pm northguineahills: Always interesting when you know you have an album, but don't recognize the track.
	♥ 12:19pm Doug Schulkind: Stampfel: "bastard thief lying piece of shit bernard stollman is dead. i'd piss on his grave if was within walking distance. he stole my dead mom's tape of weber & me live in detroit, 1965,with weber's help, over my objections, and never paid us a penny. weber, sam, and i were sposed to get $150 each for indian war whoop. he stiffed sam, and wouldn't let him be on the cover because sam got a crew cut out of disgust for the bullshit summer of love. the contract, which i dint read, said he owns all the songs and will pay no royalties of any kind for them, and we will get no other royalties at all, ever, which we did not, despite release in several countries. but he did give me $180 for the fugs albums i was on in late sunner '66, which payed the 3 months rent we were behind. tha't all i ever got for the fugs albums. not a cent for fugs 4 rounders score."
	12:19pm Dean: This is the same Bob James who later recorded on CTI? Amazing.
	♥ 12:19pm Polyus: Thanks Doug, was just looking for it.
	♥ 12:20pm Jeff Golick: The very same, Dean. Here co-composing with Robert Ashley!
	12:20pm Dean: Stollman was an attorney.
	♥ 12:21pm Jeff Golick: Greetings, @ngh!
	12:21pm Dean: I'm stunned.
	♥ 12:24pm Doug Schulkind: There are those who try to portray Stollman as a music lover who was just trying to get the artists exposure. While that may be mostly true, he was also a lawyer who intentionally deceived and took advantage of the musicians he recorded. Many of the same artists were ripped off and worse by the thugs running the French label BYG/Actuel, but for some reason Stollman's thuggery got way less press than that of the French creeps.
	12:25pm Jeff J: We've got those issues with Stollman addressed musically at the end of the set, Doug.
	🦀 ♥ 12:26pm listener james from westwood: To hell w/ being paid in exposure. People die of exposure.
	♥ 12:26pm Jeff Golick: Also, to be clear, this is not meant as a celebration of Stollman, but his death was a spur to play some of great music that was released on ESP.
	12:27pm Dean: Wow, you know you suck when your post-mortem demands a qualification.
	♥ 12:29pm Jeff Golick: Davidson was a cool cat who studied biochem at Harvard. He apparently initiated a graphic score system that was largely unknown, unused, unstudied. I think Joe Morris has tried to work with them some.
	♥ 12:30pm Jeff Golick: Davidson with Gary Peacock and Milford Graves here, btw.
	🦀 ♥ 12:31pm duke: Good stuff
	♥ 12:32pm Doug Schulkind: There is no denying the enormous importance of Stollman's contributions to the universe!
	♥ 12:32pm Jeff Golick: ...and while we're clarifying, this Byron Allen is not the same guy who co-hosted Real People.
	♥ 12:36pm Jeff Golick: (Out of curiosity, does anyone out there remember the TV program Real People?)
	♥ 12:43pm Jeff Golick: Rare appearance from trumpeter Ric Colbeck on this Noah Howard cut.
	♥ 12:47pm Doug Schulkind: I remember exactly where I was on December 17, 2006 when destination: OUT shared two tracks from Ric Colbeck's "The Sun Is Coming Up." I immediately emailed you guys and pleaded for you to share the other two tracks from the album — which you did. Bless you boys.
	12:49pm Dean: Can't remember what I never knew in the first place. But when I think Byron Allen, for some reason I think football.
	♥ 12:50pm Jeff Golick: Aw. It's bizarre that of all the albums that have been resuscitated over the last ten years, that one -- THE SUN IS COMING UP -- has eluded reissue.
	♥ 12:50pm Doug Schulkind: Nice bit of fill-in-the-holes info about the elusive Mr. Colbeck: galacticramble.blogspot.de...
	♥ 12:51pm Jeff Golick: It's unclear whether the jazz player Byron Allen still walks the Earth. Doug, any idea?
	12:51pm Dean: Take that, Bjork!
	12:52pm Dean: Didn't he go on to form The Cars?
	♥ 12:53pm Jeff Golick: Piano for Patty by Burton Greene, btw.
	♥ 12:54pm Jeff Golick: I thought that was Ric Holden.
	12:55pm Dean: Just picked up a Burton Greene disk, solo piano, on Cadence.
	♥ 12:56pm Doug Schulkind: No clue about Byron Allen. He released the one ESP recording in '64 then another on Interface in '79. And that is it.
	12:56pm Dean: Shakespeare is like, "Rein it in just a wee bit there, Patty."
	12:58pm Jeff J: Ha, Dean. Patty shall not be reined!
	♥ 12:58pm Doug Schulkind: Here is Down Beat review of a 1965 Town Hall concert I would have liked to have attended: Town Hall, New York, 1 May 1965 Down Beat (Vol. 32, No. 15, 15 July, 1965, p. 12) CAUGHT IN THE ACT Reviews Of In-Person Performances Bud Powell / Byron Allen / Albert Ayler / Giuseppi Logan Town Hall, New York City Personnel: Powell, piano. Eddie Gales, trumpet; Allen, alto saxophone; Walter Booker, Larry Ridley, basses; Clarence Stroman, drums. Don Ayler, trumpet; Charles Tyler, alto saxophone; Albert Ayler, tenor saxophone; Louis Worrell, bass; Sonny Murray, drums. Logan, bass clarinet, flute; Don Pullen, piano; Reggie Johnson, bass; Milford Graves, drums, percussion. _____ To the supporters of the jazz avant-garde—musicians, critics, and fans—there seems to be no middle ground. One is either for or against the new music, and any expression of reservations is interpreted, in the manner of political or religious movements, as a species of treason. Furthermore, the insistence of those supporting the avant-gardists that the music is a socio-political act, and their habit of attacking even sympathetic criticism with such semantic bludgeons as “racial prejudices,” “backwardness,” “white power structure,” and other ideological catch phrases of dubious relevance, hardly has served a climate of reasoned objectivity. To this reviewer—and let the chips fall where they may from assorted shoulders—the sole relevant issue is the validity of the new music as music, at least within the confines of a review such as this. To agree that there is room in jazz for radical innovation is not synonymous with the abandonment of all prior esthetic standards, and to be sympathetic to new things in jazz does not mean that all that is new must be received with unqualified approval simply because it is new. This concert presented, in addition to an honored jazz veteran, three groups of widely varying quality and orientation, having little in common beyond their affiliation with ESP Disks, a newly founded record company that presented (and, in part, recorded) the event. Alto saxophonist Allen’s group, which opened with a 25-minute set devoted to one piece, is rooted in Ornette Coleman’s approach to jazz. Allen employs some of Coleman’s speechlike phrases and some of his rhythmic and melodic patterns, but he does not as yet have a comparable sense of form and organization. A lyrical, rather gentle player, he still has to learn to edit himself, and his music now makes a rather unformed and tentative impression. Allen’s rhythm section, despite the presence of two bassists, was fairly conventional; i.e., it swung. Ridley, a fine player not exclusively affiliated with the avant-garde, and Stroman, who also is primarily a modern-mainstream player, took good care of the timekeeping, while Booker played fills. Powell followed, playing solo piano. Though in considerably better form than at his distressing appearance at the Charlie Parker Memorial Concert at Carnegie Hall in March, Powell was far from his peak. However, his final selection, I Remember Clifford, was extremely moving, and what had seemed to be faltering time on the faster pieces now became a nearly Monkish deliberateness, each phrase ringing out full and strong. What Powell hasn’t lost is his marvelous touch and sound, and everything he played revealed a sense of balance and proportion not much in evidence elsewhere on the program. Next came Logan, a multi-instrumentalist who restricted himself to a mere two of the nine horns this reviewer has so far heard him play. Of his two compositions, the first featured him on flute, which he plays with an attractive tone but a technique far from virtuosic. Percussionist Graves was much in evidence, opening the proceedings on an array of instruments including a large gong, bells, gourds, rattles, and African types of drums. For the second part of the piece, Graves switched to a regular set of drums. Straight time is not his forte; he uses percussion to embellish and punctuate, setting up a continuous barrage of sound, which can be striking when it does not overwhelm the efforts of the other players. The second piece featured Logan’s bass clarinet. The sounds he produced—shrieks, swoops, and gargles—brought to mind Eric Dolphy at his most extreme but lacked the latter’s technical brilliance, emotional force, and sense of contrast. With this kind of playing, it is sometimes hard to decide which notes are voluntary and which are accidental. In spite of his occasional wildness, Logan appears to be a musical eclectic with romantic leanings and a flair for melodic invention that he might profitably explore. In addition, his music has a kind of theatricality (both he and Graves are “showmen” of a sort), and he could become the first popularizer of avant-garde music, or rather, its surface characteristics. Bassist Johnson was often inaudible (through no fault of his own) but was effective in a duet between arco bass and percussion, during which Graves bent and twisted a cymbal while beating it with a mallet. Pianist Pullen is a technician with great dexterity, but his improvisations are those of a classically oriented musician—chromatic runs (not unlike a random medley of Scriabin fragments) without a trace of swing or rhythmic definition. The concert concluded with by far the strongest and most unusual music of the afternoon. Albert Ayler is certainly original. His tenor saxophone sound, on fast tempos, is harsh and guttural, with a pronounced vibrato and a multitude of what used to be called freak effects in King Oliver’s day. He plays with a vehemence that startles the listener, either repelling him or pulling him into the music with almost brute force. The effect can be oddly exhilarating. On slow tempos, Ayler favors a vibrato so wide that it brings to mind Charlie Barnet’s old take-off on Freddy Martin. It is an archaic sound, and the phrasing that goes with it—drawn-out notes, glissandi, sentimental melodic emphasis—is quite in keeping. Trumpeter Don Ayler plays like his brother plays fast tenor: loud, staccato, and broadly emphatic. But his fingering technique appears elementary. He did not solo at slow tempo. Altoist Tyler fits the brothers. His sound is not unlike Albert’s but more grating and less controlled—some of his overtones were involuntary, whereas the tenorist meant every note he played to be. The music that goes with this definitive instrumental approach is no less personal. It resembles at times—in texture as well as voicings and melody—the music of a village brass band or a military drum-and-bugle corps. In spite of its abrasiveness, the music is quite gay and friendly—“country” might be the word for it. The harmonies are stark and almost primitive, with occasional forays into bagpipe effects. Ayler’s group played two pieces. The first, quite brief, ended with a prolonged bombardment by the full ensemble; a flurry of repeated notes played strictly on the beat. The effect was not unlike a surrealistic parody of those famous Jazz at the Philharmonic finales, replete with screaming trumpet and honking saxophones. Or perhaps the image was of a rhythm-and-blues band gone berserk. The second piece, though sprawling and too long, was nevertheless filled with exciting passages. A slow tenor solo was followed by a bass interlude and then a call to arms by the horns, a militaristic theme-statement, a fast tenor solo, ensemble interlude, solos by all the horns at very rapid tempo, a return to the theme, another call to arms, and a bansheelike concluding ensemble. The horns—the leader especially—played with such rhythmic thrust that the role of the rhythm section was merely incidental. Murray seemed forever to be trying to catch up with the horns. Worrell was effective in solo, and his backing of Ayler’s slow improvisations was particularly apt. To this listener, there seems to be a great deal of wild humor in Ayler’s music. Though often vehement, it is celebration rather than protest; much of it has the sheer “bad boy” joy of making sounds. Whatever one’s reaction to this music, there can be little doubt that it contained the spirit of jazz. Some may dismiss it as untutored, primitive, or merely grotesque, but it certainly has the courage of its convictions and is anything but boring or pretentious. If one thing was made clear by this concert, it is that the so-called new thing is really many things: very different approaches to innovation (or novelty?) in jazz, having in common only a predilection for radical means of expression. If there is a jazz revolution, it has already developed its Bolsheviks, Mensheviks, Social Revolutionaries, and Trotskyites (I don’t know of any musical Stalinists) and is definitely not a unilateral phenomenon. At its core, as always in jazz, lies the personal and individual. Perhaps it is time to get away from the emphasis on categories and get back to the proper perspective—the individual one—which would eliminate the pointless and absurd debates about “modern” and “old-fashioned” music. —Dan Morgenstern
	1:05pm SeanG: Monday Nothing
	♥ 1:05pm Jeff Golick: Whew!
	1:06pm SeanG: This song is setting me straight today thanks!
	♥ 1:09pm Polyus: Shifty business practices aside, I have really been enjoying the ESP-Disk tributes I have been hearing from WFMU the last week - still kind of a neophyte outside a couple of artists, so I am learning a lot.
	♥ 1:23pm Jeff Golick: That's great to hear, @Polyus. This list by Phil Freeman is another good departure point, if needed: www.stereogum.com... (it's a slide show)
	♥ 1:27pm Jeff Golick: Believe this is Richard Davis on bass here.
	1:30pm Dean: A few years ago my wife and I were looking to rent in Berkeley. We met a landlord, a young guy who, it turns out, had graduated with my wife from the same midwestern liberal arts college with a strong music conservatory. We ended up not renting the place (no room for my records), but we did learn that the classmate was a bassist who had studied with Richard Davis.
	🦀 ♥ 1:32pm listener james from westwood: Absolutely with Polyus: much to learn, lots to hear, happy for this & other tributes. And that Bangs article was also my gateway to the label.
	1:37pm Dean: This is Reijseger, no? Hank Roberts played with Arcado, too.
	♥ 1:37pm Doug Schulkind: @Dean I went to a midwestern liberal arts college with a strong music conservatory!
	1:39pm Dean: Oberlin? My wife went to Lawrence, but she didn't study music.
	🦀 ♥ 1:40pm listener james from westwood: Clicky star for the "Green Dolphy Suite!"
	♥ 1:40pm Doug Schulkind: Yup, Oberlin.
	♥ 1:41pm Jeff Golick: Great ears, as usual, Dean. It is indeed Reijseger!
	♥ 1:41pm Jeff Golick: Also Marks Dresser and Feldman. Written by Louis Sclavis (who also plays).
	1:44pm Dean: You know who else went to Oberlin? Benjamin Bagby and Barbara Thornton (RIP), who later formed Sequentia, the marvelous medieval music ensemble. They alone accrue boundless credit to the school's reputation.
	♥ 1:51pm Doug Schulkind: Thornton died so damn young.
	1:56pm Dean: Don't get me started. To this day I miss her. A unique voice. Brilliant musicology. She and Ben were a gift to music lovers. She towered over him, literally. Sequentia remains one of the brightest musical sources of light.
	♥ 2:07pm Jeff Golick: Rhythm section here is Mal Waldron, p; Richard Davis again, b; Ed Blackwell, ds.
	♥ 2:11pm Jeff Golick: Add Booker Little to the gone too soon list.
	♥ 2:17pm Doug Schulkind: Sonny Simmons, Henry Grimes, Giuseppi Logan. All three artists in the ESP catalog had seemingly disappeared for decades. All are now blessedly back and making music. Miraculous.
	♥ 2:19pm Jeff Golick: Amen, Doug.
	♥ 2:20pm Jeff Golick: Btw, what's everybody reading? I just finished a book this morning that I can wholeheartedly recommend, particularly to fans of American history: THE WARMTH OF OTHER SUNS, by Isabel Wilkerson, on the Great Migration. Astonishingly, movingly wonderful.
	♥ 2:25pm Doug Schulkind: Doris Kearn Goodwin's THE BULLY PULPIT: THEODORE ROOSEVELT, WILLIAM HOWARD TAFT, AND THE GOLDEN AGE OF JOURNALISM.
	♥ 2:25pm Doug Schulkind: Gotta run to work. Sorry I shouted.
	2:25pm Dean: Kenneth Burke, The Philosophy of Literary Form, in a pocket book abridged edition from 1957, the copy of which was owned by a high school English teacher with whom I never took a course, but who kindly worked with two friends and me to prepare for the AP English exam independent of formal course work. (No, he did not advise on run-on sentences.) I have owned the book since c. 1980. The English teacher, now long gone, I suspect, annotated it. This is my first reading of it. If the book weren't so yellowed, I'd easily assume it had been written last year. I'm in the chapter in which Burke reviews, no kidding, Mein Kampf.
	♥ 2:26pm Jeff Golick: Yowza, Dean.
	2:27pm Dean: Oh, and Ashbery's Quick Question.
	♥ 2:29pm Jeff Golick: I'm about to start Nicholson Baker's THE MEZZANINE.
	2:30pm Dean: Appropriately, the upcoming chapter in Burke's book is about...Freud!
	♥ 2:31pm Jeff Golick: Talk about your run-on sentences....
	🦀 ♥ 2:38pm listener james from westwood: I am starting "A Paradise Born in Hell" by Rebecca Solnit, as a thematically apropos follow-up to Emily St. John Mandel's luminous "Station Eleven."
	2:41pm Dean: Sometimes a Mingus title is just a Mingus title.
	♥ 2:44pm Jeff Golick: @ljfw: I read and enjoyed STATION ELEVEN, though I confess it hasn't really stayed with me.
	♥ 2:45pm Jeff Golick: The Solnit looks amazing.
	♥ 2:49pm Webhamster Henry: Much in the same vein as Niblock, I went to the 24 hour dronefest in Hudson this weekend for a few hours.
	2:50pm Dean: To clarify, Burke's book has plentiful evidence of the time, between the wars, when it was written. The Mein Kampf review appeared in 1939. But some of his ideas serve to remind me that the more things change, etc. For instance, he complains about the glut of information and our mistaken preference for it over more "resonant" verbal constructions. "Unawares, we have allowed ourselves to take it [mere semantically correct information] as the -norm-, thereby confusing a norm with an average." He wrote this almost sixty years before Google.
	2:51pm Chris from DC: This was my intro to Niblock, great stuff.
	♥ 2:52pm Webhamster Henry: .. and I'm pretty sure I heard this piece at one of his Solstice events.
	♥ 2:53pm Polyus: @Henry - as in several participants coming and going over the 24 hrs?
	♥ 2:54pm Jeff Golick: Hi, hi, @Chris from DC and @Webmaster Henry. Henry, that sounds like a wonderful event.
	♥ 2:55pm Webhamster Henry: There were a lot of drone artists and you could come and go and sleep over if you wanted to. basilicahudson.com...
	♥ 2:55pm Jeff Golick: @Dean: Yes, that kind of very clear, thoughtful presentation of "same as it ever was" can really draw you up in your chair.
	2:56pm Chris from DC: Henry, really wish I'd known about that one. I might have made the trip.
	♥ 2:57pm northguineahills: Nice Niblock! Thanks Jeffs!
	♥ 2:58pm Webhamster Henry: It was pretty well attended too! so maybe they'll do another. A drone fest in DC, on the other hand, might involve the other kind of drone.
	2:59pm Dean: Senators, you mean?
	♥ 2:59pm Polyus: There is an event here in Mpls, Drone Not Drones, that is the same idea, over 28 hrs. It's interesting to see the variety that the numerous participants bring to the idea, although some people do stray a bit from what one would consider a drone.
	♥ 2:59pm Polyus: dronenotdrones.com
	♥ 3:02pm Webhamster Henry: @Polypus true - some of it was not really drones, just unstructured , loud noise. OTOH, Greg Fox, just playing a drum solo for 45 minutes or so, was phenomenal.
	🦀 ♥ 3:02pm listener james from westwood: I could go a whole day on these sorts of drones. Thanks, Jeff and Jeff!
	♥ 3:03pm Webhamster Henry: BTW,at EIF, during the four flutes piece, the musicians are walking around the room slowly as you sit in on your beat up couch or butterfly chair.
	♥ 3:04pm Jeff Golick: That sounds very cool, Henry! Thanks, @ljfw!
	♥ 3:13pm Jeff Golick: Just realized WFMU dj Dave Mandl did a great ESP show last night, too. Some (accidental) overlap, but lots that's new, too: www.wfmu.org...

destination: OUT with Jeff Golick: Playlist from April 27, 2015

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Three hours of adventurous jazz drawing on the Destination: Out archives and other planes of there.

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April 27, 2015: ESP-Disk' > Dolphy > Drone

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Artist	Track	Album	Label	Year
Roscoe Mitchell	Tatas-Matoes "Tatas-Matoes" by "Roscoe Mitchell"	Congliptious	Nessa	1968
Music behind DJ: Sun Ra	The Perfect Man "The Perfect Man" by "Sun Ra"	The Singles	Evidence	1974/1998
Pearls Before Swine	Images of April	Balaklava	ESP-Disk'	1968
The Fugs	Kill for Peace "Kill for Peace" by "The Fugs"	The Fugs Second Album	ESP-Disk'	1968
The Godz	Permanent Green Light "Permanent Green Light" by "The Godz"	Godz 2	ESP-Disk'	1967
Bob James Trio	Untitled Mixes "Untitled Mixes" by "Bob James Trio"	Explosions	ESP-Disk'	1965
Lowell Davidson Trio	Strong Tears	Lowell Davidson Trio	ESP-Disk'	1965
The Byron Allen Trio	Decision for the Cole-Man	The Byron Allen Trio	ESP-Disk'	1964
Noah Howard Quartet	And About Love	Noah Howard Quartet	ESP-Disk'	1966
Patty Waters	Black Is the Color of My True Love's Hair	Sings	ESP-Disk'	1965
The Fugs	Nothing "Nothing" by "The Fugs"	The Fugs First Album	ESP-Disk'	1965
Music behind DJ: Booker T. & the MG's	Melting Pot "Melting Pot" by "Booker T. & the MG's"
Potsa Lotsa Plus	Love Suite 1 "Love Suite 1" by "Potsa Lotsa Plus"	Potsa Lotsa Plus Plays Love Suite by Eric Dolphy	Jazzwerkstatt	2015
Eric Dolphy	Come Sunday "Come Sunday" by "Eric Dolphy"	Iron Man	Douglas	1964/1969
Double Trio [Trio De Clarinettes + Arcado String Trio]	Green Dolphy Suite	Green Dolphy Suite	Enja	1994
Aki Takase / Alexander von Schlippenbach	Miss Ann	So Long, Eric! Homage to Eric Dolphy	Intakt	2014
Music behind DJ: John Cale & Terry Riley	Church of Anthrax
Eric Dolphy w/ Booker Little	Bee Vamp	At the Five Spot, vol. 1	Prestige	1961
Sonny Simmons	Dolphy's Day "Dolphy's Day" by "Sonny Simmons"	Music from the Spheres	ESP-Disk'	1968
Charles Mingus	All The Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother	Charles Mingus Presents Charles Mingus	Candid	1960
Frank Zappa	The Eric Dolphy Memorial Barbecue	Weasels Ripped My Flesh	Bizarre	1970
Music behind DJ: Mouse on Mars	Fantastic Analysis "Fantastic Analysis" by "Mouse on Mars"
Phill Niblock	Winterbloom Too "Winterbloom Too" by "Phill Niblock"	Four Full Flutes	Experimental Intermedia	1990
Music behind DJ: Dudu Pukwana & Spear	Flute Music "Flute Music" by "Dudu Pukwana & Spear"	Flute Music	Caroline	1975

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Listener comments!
	♥ 12:03pm Artie Haywire: I call these the Yay-horns.
	♥ 12:04pm Jeff Golick: Yay! Artie!
	12:04pm Dean: You do realize that you are currently competing with the Boredcast stream featuring Kenny G's inventory of flatulence?
	🦀 ♥ 12:09pm listener james from westwood: Hmmm ... putzing around with D:O or farting around with Kenny G?
	12:09pm Jeff J: How am I sounding out there in radio land? Relatively clear? Or is there interference?
	12:10pm Jeff J: Hey Artie, Dean, and LJFW! You'll want to keep it tuned here, of course. We'll got some next-level putzing happening shortly.
	♥ 12:11pm Doug Schulkind: Jeff and Jeff, I send you chaps an email regarding sound quality.
	12:11pm glenn: if jeff and jeff renamed themselves as thomas, they could be the d:outing thomases. just sayin'.
	🦀 ♥ 12:12pm listener james from westwood: I look forward to plotzing over your putzing.
	12:13pm Dean: This tune was updated by The Deadbeats as "Kill the Hippies."
	♥ 12:13pm Jeff Golick: Yah, we got toots from some flutes.
	12:15pm Dean: All I can say is Kenny G brings new meaning to "Destination, out!"
	♥ 12:15pm Polyus: I take it people have seen Peter Stampfel's comments about Bernard Stollman this past week?
	♥ 12:17pm Jeff Golick: Hey, @Polyus. Didn't see! You got a link?
	♥ 12:17pm northguineahills: Always interesting when you know you have an album, but don't recognize the track.
	♥ 12:19pm Doug Schulkind: Stampfel: "bastard thief lying piece of shit bernard stollman is dead. i'd piss on his grave if was within walking distance. he stole my dead mom's tape of weber & me live in detroit, 1965,with weber's help, over my objections, and never paid us a penny. weber, sam, and i were sposed to get $150 each for indian war whoop. he stiffed sam, and wouldn't let him be on the cover because sam got a crew cut out of disgust for the bullshit summer of love. the contract, which i dint read, said he owns all the songs and will pay no royalties of any kind for them, and we will get no other royalties at all, ever, which we did not, despite release in several countries. but he did give me $180 for the fugs albums i was on in late sunner '66, which payed the 3 months rent we were behind. tha't all i ever got for the fugs albums. not a cent for fugs 4 rounders score."
	12:19pm Dean: This is the same Bob James who later recorded on CTI? Amazing.
	♥ 12:19pm Polyus: Thanks Doug, was just looking for it.
	♥ 12:20pm Jeff Golick: The very same, Dean. Here co-composing with Robert Ashley!
	12:20pm Dean: Stollman was an attorney.
	♥ 12:21pm Jeff Golick: Greetings, @ngh!
	12:21pm Dean: I'm stunned.
	♥ 12:24pm Doug Schulkind: There are those who try to portray Stollman as a music lover who was just trying to get the artists exposure. While that may be mostly true, he was also a lawyer who intentionally deceived and took advantage of the musicians he recorded. Many of the same artists were ripped off and worse by the thugs running the French label BYG/Actuel, but for some reason Stollman's thuggery got way less press than that of the French creeps.
	12:25pm Jeff J: We've got those issues with Stollman addressed musically at the end of the set, Doug.
	🦀 ♥ 12:26pm listener james from westwood: To hell w/ being paid in exposure. People die of exposure.
	♥ 12:26pm Jeff Golick: Also, to be clear, this is not meant as a celebration of Stollman, but his death was a spur to play some of great music that was released on ESP.
	12:27pm Dean: Wow, you know you suck when your post-mortem demands a qualification.
	♥ 12:29pm Jeff Golick: Davidson was a cool cat who studied biochem at Harvard. He apparently initiated a graphic score system that was largely unknown, unused, unstudied. I think Joe Morris has tried to work with them some.
	♥ 12:30pm Jeff Golick: Davidson with Gary Peacock and Milford Graves here, btw.
	🦀 ♥ 12:31pm duke: Good stuff
	♥ 12:32pm Doug Schulkind: There is no denying the enormous importance of Stollman's contributions to the universe!
	♥ 12:32pm Jeff Golick: ...and while we're clarifying, this Byron Allen is not the same guy who co-hosted Real People.
	♥ 12:36pm Jeff Golick: (Out of curiosity, does anyone out there remember the TV program Real People?)
	♥ 12:43pm Jeff Golick: Rare appearance from trumpeter Ric Colbeck on this Noah Howard cut.
	♥ 12:47pm Doug Schulkind: I remember exactly where I was on December 17, 2006 when destination: OUT shared two tracks from Ric Colbeck's "The Sun Is Coming Up." I immediately emailed you guys and pleaded for you to share the other two tracks from the album — which you did. Bless you boys.
	12:49pm Dean: Can't remember what I never knew in the first place. But when I think Byron Allen, for some reason I think football.
	♥ 12:50pm Jeff Golick: Aw. It's bizarre that of all the albums that have been resuscitated over the last ten years, that one -- THE SUN IS COMING UP -- has eluded reissue.
	♥ 12:50pm Doug Schulkind: Nice bit of fill-in-the-holes info about the elusive Mr. Colbeck: galacticramble.blogspot.de...
	♥ 12:51pm Jeff Golick: It's unclear whether the jazz player Byron Allen still walks the Earth. Doug, any idea?
	12:51pm Dean: Take that, Bjork!
	12:52pm Dean: Didn't he go on to form The Cars?
	♥ 12:53pm Jeff Golick: Piano for Patty by Burton Greene, btw.
	♥ 12:54pm Jeff Golick: I thought that was Ric Holden.
	12:55pm Dean: Just picked up a Burton Greene disk, solo piano, on Cadence.
	♥ 12:56pm Doug Schulkind: No clue about Byron Allen. He released the one ESP recording in '64 then another on Interface in '79. And that is it.
	12:56pm Dean: Shakespeare is like, "Rein it in just a wee bit there, Patty."
	12:58pm Jeff J: Ha, Dean. Patty shall not be reined!
	♥ 12:58pm Doug Schulkind: Here is Down Beat review of a 1965 Town Hall concert I would have liked to have attended: Town Hall, New York, 1 May 1965 Down Beat (Vol. 32, No. 15, 15 July, 1965, p. 12) CAUGHT IN THE ACT Reviews Of In-Person Performances Bud Powell / Byron Allen / Albert Ayler / Giuseppi Logan Town Hall, New York City Personnel: Powell, piano. Eddie Gales, trumpet; Allen, alto saxophone; Walter Booker, Larry Ridley, basses; Clarence Stroman, drums. Don Ayler, trumpet; Charles Tyler, alto saxophone; Albert Ayler, tenor saxophone; Louis Worrell, bass; Sonny Murray, drums. Logan, bass clarinet, flute; Don Pullen, piano; Reggie Johnson, bass; Milford Graves, drums, percussion. _____ To the supporters of the jazz avant-garde—musicians, critics, and fans—there seems to be no middle ground. One is either for or against the new music, and any expression of reservations is interpreted, in the manner of political or religious movements, as a species of treason. Furthermore, the insistence of those supporting the avant-gardists that the music is a socio-political act, and their habit of attacking even sympathetic criticism with such semantic bludgeons as “racial prejudices,” “backwardness,” “white power structure,” and other ideological catch phrases of dubious relevance, hardly has served a climate of reasoned objectivity. To this reviewer—and let the chips fall where they may from assorted shoulders—the sole relevant issue is the validity of the new music as music, at least within the confines of a review such as this. To agree that there is room in jazz for radical innovation is not synonymous with the abandonment of all prior esthetic standards, and to be sympathetic to new things in jazz does not mean that all that is new must be received with unqualified approval simply because it is new. This concert presented, in addition to an honored jazz veteran, three groups of widely varying quality and orientation, having little in common beyond their affiliation with ESP Disks, a newly founded record company that presented (and, in part, recorded) the event. Alto saxophonist Allen’s group, which opened with a 25-minute set devoted to one piece, is rooted in Ornette Coleman’s approach to jazz. Allen employs some of Coleman’s speechlike phrases and some of his rhythmic and melodic patterns, but he does not as yet have a comparable sense of form and organization. A lyrical, rather gentle player, he still has to learn to edit himself, and his music now makes a rather unformed and tentative impression. Allen’s rhythm section, despite the presence of two bassists, was fairly conventional; i.e., it swung. Ridley, a fine player not exclusively affiliated with the avant-garde, and Stroman, who also is primarily a modern-mainstream player, took good care of the timekeeping, while Booker played fills. Powell followed, playing solo piano. Though in considerably better form than at his distressing appearance at the Charlie Parker Memorial Concert at Carnegie Hall in March, Powell was far from his peak. However, his final selection, I Remember Clifford, was extremely moving, and what had seemed to be faltering time on the faster pieces now became a nearly Monkish deliberateness, each phrase ringing out full and strong. What Powell hasn’t lost is his marvelous touch and sound, and everything he played revealed a sense of balance and proportion not much in evidence elsewhere on the program. Next came Logan, a multi-instrumentalist who restricted himself to a mere two of the nine horns this reviewer has so far heard him play. Of his two compositions, the first featured him on flute, which he plays with an attractive tone but a technique far from virtuosic. Percussionist Graves was much in evidence, opening the proceedings on an array of instruments including a large gong, bells, gourds, rattles, and African types of drums. For the second part of the piece, Graves switched to a regular set of drums. Straight time is not his forte; he uses percussion to embellish and punctuate, setting up a continuous barrage of sound, which can be striking when it does not overwhelm the efforts of the other players. The second piece featured Logan’s bass clarinet. The sounds he produced—shrieks, swoops, and gargles—brought to mind Eric Dolphy at his most extreme but lacked the latter’s technical brilliance, emotional force, and sense of contrast. With this kind of playing, it is sometimes hard to decide which notes are voluntary and which are accidental. In spite of his occasional wildness, Logan appears to be a musical eclectic with romantic leanings and a flair for melodic invention that he might profitably explore. In addition, his music has a kind of theatricality (both he and Graves are “showmen” of a sort), and he could become the first popularizer of avant-garde music, or rather, its surface characteristics. Bassist Johnson was often inaudible (through no fault of his own) but was effective in a duet between arco bass and percussion, during which Graves bent and twisted a cymbal while beating it with a mallet. Pianist Pullen is a technician with great dexterity, but his improvisations are those of a classically oriented musician—chromatic runs (not unlike a random medley of Scriabin fragments) without a trace of swing or rhythmic definition. The concert concluded with by far the strongest and most unusual music of the afternoon. Albert Ayler is certainly original. His tenor saxophone sound, on fast tempos, is harsh and guttural, with a pronounced vibrato and a multitude of what used to be called freak effects in King Oliver’s day. He plays with a vehemence that startles the listener, either repelling him or pulling him into the music with almost brute force. The effect can be oddly exhilarating. On slow tempos, Ayler favors a vibrato so wide that it brings to mind Charlie Barnet’s old take-off on Freddy Martin. It is an archaic sound, and the phrasing that goes with it—drawn-out notes, glissandi, sentimental melodic emphasis—is quite in keeping. Trumpeter Don Ayler plays like his brother plays fast tenor: loud, staccato, and broadly emphatic. But his fingering technique appears elementary. He did not solo at slow tempo. Altoist Tyler fits the brothers. His sound is not unlike Albert’s but more grating and less controlled—some of his overtones were involuntary, whereas the tenorist meant every note he played to be. The music that goes with this definitive instrumental approach is no less personal. It resembles at times—in texture as well as voicings and melody—the music of a village brass band or a military drum-and-bugle corps. In spite of its abrasiveness, the music is quite gay and friendly—“country” might be the word for it. The harmonies are stark and almost primitive, with occasional forays into bagpipe effects. Ayler’s group played two pieces. The first, quite brief, ended with a prolonged bombardment by the full ensemble; a flurry of repeated notes played strictly on the beat. The effect was not unlike a surrealistic parody of those famous Jazz at the Philharmonic finales, replete with screaming trumpet and honking saxophones. Or perhaps the image was of a rhythm-and-blues band gone berserk. The second piece, though sprawling and too long, was nevertheless filled with exciting passages. A slow tenor solo was followed by a bass interlude and then a call to arms by the horns, a militaristic theme-statement, a fast tenor solo, ensemble interlude, solos by all the horns at very rapid tempo, a return to the theme, another call to arms, and a bansheelike concluding ensemble. The horns—the leader especially—played with such rhythmic thrust that the role of the rhythm section was merely incidental. Murray seemed forever to be trying to catch up with the horns. Worrell was effective in solo, and his backing of Ayler’s slow improvisations was particularly apt. To this listener, there seems to be a great deal of wild humor in Ayler’s music. Though often vehement, it is celebration rather than protest; much of it has the sheer “bad boy” joy of making sounds. Whatever one’s reaction to this music, there can be little doubt that it contained the spirit of jazz. Some may dismiss it as untutored, primitive, or merely grotesque, but it certainly has the courage of its convictions and is anything but boring or pretentious. If one thing was made clear by this concert, it is that the so-called new thing is really many things: very different approaches to innovation (or novelty?) in jazz, having in common only a predilection for radical means of expression. If there is a jazz revolution, it has already developed its Bolsheviks, Mensheviks, Social Revolutionaries, and Trotskyites (I don’t know of any musical Stalinists) and is definitely not a unilateral phenomenon. At its core, as always in jazz, lies the personal and individual. Perhaps it is time to get away from the emphasis on categories and get back to the proper perspective—the individual one—which would eliminate the pointless and absurd debates about “modern” and “old-fashioned” music. —Dan Morgenstern
	1:05pm SeanG: Monday Nothing
	♥ 1:05pm Jeff Golick: Whew!
	1:06pm SeanG: This song is setting me straight today thanks!
	♥ 1:09pm Polyus: Shifty business practices aside, I have really been enjoying the ESP-Disk tributes I have been hearing from WFMU the last week - still kind of a neophyte outside a couple of artists, so I am learning a lot.
	♥ 1:23pm Jeff Golick: That's great to hear, @Polyus. This list by Phil Freeman is another good departure point, if needed: www.stereogum.com... (it's a slide show)
	♥ 1:27pm Jeff Golick: Believe this is Richard Davis on bass here.
	1:30pm Dean: A few years ago my wife and I were looking to rent in Berkeley. We met a landlord, a young guy who, it turns out, had graduated with my wife from the same midwestern liberal arts college with a strong music conservatory. We ended up not renting the place (no room for my records), but we did learn that the classmate was a bassist who had studied with Richard Davis.
	🦀 ♥ 1:32pm listener james from westwood: Absolutely with Polyus: much to learn, lots to hear, happy for this & other tributes. And that Bangs article was also my gateway to the label.
	1:37pm Dean: This is Reijseger, no? Hank Roberts played with Arcado, too.
	♥ 1:37pm Doug Schulkind: @Dean I went to a midwestern liberal arts college with a strong music conservatory!
	1:39pm Dean: Oberlin? My wife went to Lawrence, but she didn't study music.
	🦀 ♥ 1:40pm listener james from westwood: Clicky star for the "Green Dolphy Suite!"
	♥ 1:40pm Doug Schulkind: Yup, Oberlin.
	♥ 1:41pm Jeff Golick: Great ears, as usual, Dean. It is indeed Reijseger!
	♥ 1:41pm Jeff Golick: Also Marks Dresser and Feldman. Written by Louis Sclavis (who also plays).
	1:44pm Dean: You know who else went to Oberlin? Benjamin Bagby and Barbara Thornton (RIP), who later formed Sequentia, the marvelous medieval music ensemble. They alone accrue boundless credit to the school's reputation.
	♥ 1:51pm Doug Schulkind: Thornton died so damn young.
	1:56pm Dean: Don't get me started. To this day I miss her. A unique voice. Brilliant musicology. She and Ben were a gift to music lovers. She towered over him, literally. Sequentia remains one of the brightest musical sources of light.
	♥ 2:07pm Jeff Golick: Rhythm section here is Mal Waldron, p; Richard Davis again, b; Ed Blackwell, ds.
	♥ 2:11pm Jeff Golick: Add Booker Little to the gone too soon list.
	♥ 2:17pm Doug Schulkind: Sonny Simmons, Henry Grimes, Giuseppi Logan. All three artists in the ESP catalog had seemingly disappeared for decades. All are now blessedly back and making music. Miraculous.
	♥ 2:19pm Jeff Golick: Amen, Doug.
	♥ 2:20pm Jeff Golick: Btw, what's everybody reading? I just finished a book this morning that I can wholeheartedly recommend, particularly to fans of American history: THE WARMTH OF OTHER SUNS, by Isabel Wilkerson, on the Great Migration. Astonishingly, movingly wonderful.
	♥ 2:25pm Doug Schulkind: Doris Kearn Goodwin's THE BULLY PULPIT: THEODORE ROOSEVELT, WILLIAM HOWARD TAFT, AND THE GOLDEN AGE OF JOURNALISM.
	♥ 2:25pm Doug Schulkind: Gotta run to work. Sorry I shouted.
	2:25pm Dean: Kenneth Burke, The Philosophy of Literary Form, in a pocket book abridged edition from 1957, the copy of which was owned by a high school English teacher with whom I never took a course, but who kindly worked with two friends and me to prepare for the AP English exam independent of formal course work. (No, he did not advise on run-on sentences.) I have owned the book since c. 1980. The English teacher, now long gone, I suspect, annotated it. This is my first reading of it. If the book weren't so yellowed, I'd easily assume it had been written last year. I'm in the chapter in which Burke reviews, no kidding, Mein Kampf.
	♥ 2:26pm Jeff Golick: Yowza, Dean.
	2:27pm Dean: Oh, and Ashbery's Quick Question.
	♥ 2:29pm Jeff Golick: I'm about to start Nicholson Baker's THE MEZZANINE.
	2:30pm Dean: Appropriately, the upcoming chapter in Burke's book is about...Freud!
	♥ 2:31pm Jeff Golick: Talk about your run-on sentences....
	🦀 ♥ 2:38pm listener james from westwood: I am starting "A Paradise Born in Hell" by Rebecca Solnit, as a thematically apropos follow-up to Emily St. John Mandel's luminous "Station Eleven."
	2:41pm Dean: Sometimes a Mingus title is just a Mingus title.
	♥ 2:44pm Jeff Golick: @ljfw: I read and enjoyed STATION ELEVEN, though I confess it hasn't really stayed with me.
	♥ 2:45pm Jeff Golick: The Solnit looks amazing.
	♥ 2:49pm Webhamster Henry: Much in the same vein as Niblock, I went to the 24 hour dronefest in Hudson this weekend for a few hours.
	2:50pm Dean: To clarify, Burke's book has plentiful evidence of the time, between the wars, when it was written. The Mein Kampf review appeared in 1939. But some of his ideas serve to remind me that the more things change, etc. For instance, he complains about the glut of information and our mistaken preference for it over more "resonant" verbal constructions. "Unawares, we have allowed ourselves to take it [mere semantically correct information] as the -norm-, thereby confusing a norm with an average." He wrote this almost sixty years before Google.
	2:51pm Chris from DC: This was my intro to Niblock, great stuff.
	♥ 2:52pm Webhamster Henry: .. and I'm pretty sure I heard this piece at one of his Solstice events.
	♥ 2:53pm Polyus: @Henry - as in several participants coming and going over the 24 hrs?
	♥ 2:54pm Jeff Golick: Hi, hi, @Chris from DC and @Webmaster Henry. Henry, that sounds like a wonderful event.
	♥ 2:55pm Webhamster Henry: There were a lot of drone artists and you could come and go and sleep over if you wanted to. basilicahudson.com...
	♥ 2:55pm Jeff Golick: @Dean: Yes, that kind of very clear, thoughtful presentation of "same as it ever was" can really draw you up in your chair.
	2:56pm Chris from DC: Henry, really wish I'd known about that one. I might have made the trip.
	♥ 2:57pm northguineahills: Nice Niblock! Thanks Jeffs!
	♥ 2:58pm Webhamster Henry: It was pretty well attended too! so maybe they'll do another. A drone fest in DC, on the other hand, might involve the other kind of drone.
	2:59pm Dean: Senators, you mean?
	♥ 2:59pm Polyus: There is an event here in Mpls, Drone Not Drones, that is the same idea, over 28 hrs. It's interesting to see the variety that the numerous participants bring to the idea, although some people do stray a bit from what one would consider a drone.
	♥ 2:59pm Polyus: dronenotdrones.com
	♥ 3:02pm Webhamster Henry: @Polypus true - some of it was not really drones, just unstructured , loud noise. OTOH, Greg Fox, just playing a drum solo for 45 minutes or so, was phenomenal.
	🦀 ♥ 3:02pm listener james from westwood: I could go a whole day on these sorts of drones. Thanks, Jeff and Jeff!
	♥ 3:03pm Webhamster Henry: BTW,at EIF, during the four flutes piece, the musicians are walking around the room slowly as you sit in on your beat up couch or butterfly chair.
	♥ 3:04pm Jeff Golick: That sounds very cool, Henry! Thanks, @ljfw!
	♥ 3:13pm Jeff Golick: Just realized WFMU dj Dave Mandl did a great ESP show last night, too. Some (accidental) overlap, but lots that's new, too: www.wfmu.org...

destination: OUT with Jeff Golick: Playlist from April 27, 2015

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