To hear the full original 15-minute instrumental jam of “Willie the Pimp” without any of the overdubs is good fun.
I was there since they broke. Remember watching 120 minutes at like 3 am in college smoking some jazz cigs and Live Forever came on. Changed my world.
GARCIALIVE VOLUME NINE Jerry Garcia & Merl Saunders August 11, 1974, Keystone, Berkeley I’m digging this 17-minute instrumental version of “Ain’t No Woman (Like the One I’ve Got)” Martin Fierro’s ring-modulated flute can be a bit much at times though.
Most Materiall Evan Parker - tenor & soprano saxophones Eddie Prevost - drum kit/percussion 2 CD set recorded on 2/23/1997 & 4/13/1997 @ Gateway Studios in Kingston, England first session is mostly Prevost on cymbals & scrapes with Parker often on soprano while the second sessions gets to a post Interstellar Space like dialogue with Prevost on a drum kit with Parker playing mostly tenor - this is as strong a studio recording as Parker has made as far as his tenor playing. It might go without saying that his revolutionary soprano playing was also never better as the 90’s was/is his ultimate purple patch in retrospect. Disc 1 is 76:18 while disc 2 is 61:59 9 tracks spread across both discs with the first session being the whole first disc plus the first 12 minute track on disc 2. It’s a LONG listen demanding much from the listener. Rewards for me will always vary depending on my commitment and spiritual condition. Plan this AM is most of disc 1 as I’m off work and trying to GET to a strong mindset matchless recordings
I promised myself not to commentate on this recording but having put it in my CD for the first time in a few years I’m blown away by a 3-4 minute circular breathing passage on tenor that ends the first 20 minute improvisation. Untouchable with Prevost ratcheting up the energy on what sounds like just a bass drum and cymbals.
Oh I see, I misread your post and thought What’s Going On hadn’t previously made their top 500 at all, which seemed ludicrous.
I think it’s a kettle drum as he does similar stuff on the next piece with Evan on soprano. This is truly meditative music in an almost AMM way. Prevost’s cymbal work is beyond reproach. Third 13 minute plus piece has Parker back on tenor and the *sound* of his horn as captured on a very open recording allows us to hear every breath and every key as he touches them. This is music beyond category. At the limits of the instrument without getting to the point of it not sounding like a tenor saxophone. Here Parker is using circular breathing in a very limited manner and also getting those overtones all in service of the music.
Live: Take No Prisoners. Lou Reed, 1978. Stereo binaural sound, ladies and gentlemen An album mostly remembered by the fact that Reed does as much talking as singing. He even takes some time to badmouth Robert Christgau (personally, I don't blame him ).
Ivo Perelman Quartet Sound Hierachy Ivo on tenor saxophone Marilyn Crispell on piano William Parker on double bass Gerry Hemingway on drums recorded in Studio October 1996 in Brooklyn, NY one of the recordings that got me really into this stuff when I heard it in the late 90’s. Today it sounds a bit more restrained than I remember it but if I crank it up a bit, Hemingway astounds as he often does especially back in the 90’s. Music & Arts
