>
> Mark Bennett:
>
> > Absolutely. Musical archeology is very rewarding. I snatch up every new
> > Mosaic release at the earliest opportunity
>
> Mosaic the Jazz box set reissue company? That must be a very expensive
> habit!
>
.> It adds up. But what the hell, you can't take it with you.
>
> But since you like improvised music, then there is no excuse for assuming
> there is nothing new under the sun. What about the last ten years of
> improvised music coming out of the Berlin-Tokyo-Vienna-London matrix? Axel
> Doerner? Andrea Neumann? Mark Wastell? Polwechsel? Toshimaru Nakamura?
>
> When this stuff first hit the scene ten to twelve years ago, I think some
> critics and enthusiasts overstated things in terms of it being a reaction
> *against* free jazz-based forms of improv. After all, Doerner also plays in
> a group that plays exclusively Thelonious Monk repetoire, and Christof
> Kurzmann of Polwechsel stated in an interview that he still seems himself as
> being in a continuity with the tradition of Jazz, however oblique.
>
> Nonetheless, what made these people interesting was being the first free
> improvisers to also have points of reference entirely outside of the Jazz or
> first generation free improv lineage. Things like the New York School, or
> Helmut Lachenmann, Cornelius Cardew, etc.
>
> > Don't care much for what I've heard of this, which I'll admit isn't all
> that much. The Japanese stuff makes my skin crawl. I prefer Ayler,
> Brotzmann, Charles Gayle, David Ware, even Derek Bailey. That's about my
> limit.
>
>
>
>
>
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