responding to drew's and taylor's comments from yesterday... (and mark's)
i don't have the parker/bley/phillips drew mentions tho it apparently gets the slight thumbs up over the one i do have, sankt gerold.
i agree with taylor that the super souped-up sound is never well-applied in one-size-fits-all manner. same hold true for the CIMP folks, whose production values are perhaps the polar opposite of ECM: straight off the mike, no boosting no compression no fiddlin and twiddlin of any kind. which in some settings is exactly what you want, but like anything this kind of rigorous purity can be self-defeating. i have a CIMP recording of a marc edwards trio with drew's friend sabir mateen on reeds and hilliard greene on bass -- it might as well be a reeds/drums duo recording for all intents and purposes as hill is virtually inaudible for most of the disc.
with the evan parker electro-acoustic ensemble tho, i wonder if some post-performance production enhancement isn't entirely appropriate on some level: i mean there's already live electronics and electonic processing of acoustic sounds going on from the get-go...
i guess garbarek's dis is the classic ECM cliché, or so the penguin guide would have it
"Who wants to go out and get whipped? And if you do, aren't you just being entertained, really?" --Bob Dylan (1965) in the midst of bereating a Time magazine reporter in Don't Look Back
i'm really wishing that when magnolia electric company played at the black cat a few weeks ago, and after realizing that secretly canadian was selling its songs: ohia CDs for ten bucks apiece, that i had not mistakenly hit "$20" on the ATM instead of the "$40" that i had intended to withdraw so that i could buy four songs: ohia CDs. the two i bought, axxes and ace and didn't it rain, have been playing wonderfully lately. but i want the others -- all of em.