#Joe Kidd

[soupy-harry]

JOE KIDD (1972) dir. John Sturges

[amazingmrcinema007]

Almost breaks my heart to call a Western starring Clint Eastwood, Robert Duvall, and John Saxon mid, but that's what Joe Kidd is. It's fine and has a few memorable scenes (the scene where Kidd is sitting in the Judge's chair and swivels it once the big bad turns around was dope as hell) but it pales next to films like The Wild Bunch & Unforgiven.

[missholson]

Clint Eastwood on the set of Joe Kidd (1972), directed by John Sturges. © Terry O’Neill [X]

[eastwood2022]

1972 - Clint Eastwood (Joe Kidd) dans JOE KIDD de John Sturges / 1972 - Clint Eastwood (Joe Kidd) in JOE KIDD by John Sturges

Pour voir la vidéo / To see the video : L'essentiel sur JOE KIDD de John Sturges avec Clint Eastwood (1971) présenté par Fabrice Calzettoni.

Page YouTube de Fabrice Calzettoni - L’essentiel sur le cinéma

L’essentiel sur Clint Eastwood

Texte : Fabrice Calzettoni © sgdl 2022

Fabrice Calzettoni est responsable de la médiation culturelle et animateur des ciné-conférences à l'Institut Lumière et au Festival Lumière, Lyon. Il est animateur des ciné-conférences.

[cinemajunkie70]

A very happy birthday in the afterlife to John Saxon! Always a favorite of mine! Was always happy to watch him in a movie!

[my-movie-diary]

January 12, 2024, streaming on Netflix. I wanna give this a 👍 because I like Clint Eastwood, especially in westerns, but everything else about this movie is so ho-hum and nothing stood out, not even Clint. Therefore: 🫳

But it has an 80% on rotten tomatoes, so maybe I'm missing something?

[sylvies-casey]

CHICAGO FIRE 12.01 BARELY GONE — Nothing stays the same forever. Change - it's inevitable. People will come and go from this firehouse and from our lives. Anyone who is a part from 51 will always be a part of 51.

[severidekidd]

I haven’t been to a school game in weeks. I even missed out on Otis saying Javi’s name for the first time. Oh. Yeah, he called him Vi-vi. CHICAGO FIRE 11.17 'The First Symptom’

[twistnet]

comforting them after a bad day [ chicago fire ]

⋯ CHARACTERS ; matt casey, kelly severide, leslie shay, sylvie brett, stella kidd, brian ‘otis’ zvonecek, joe cruz, christoper herrmann, violet mikami, evan hawkins, greg grainger

⋯ MATT CASEY

when matt has experienced a bad day, he tends to get very quiet. sometimes even a little snippy whenever he’s asked if he’s alright. he recognizes that acting this way isn’t going to make his day any better, but it takes his a little bit. let him clam down, and once he’s done that, he’ll seek you out. quietly apologize for being snippy, and telling you that he’s just had a bad day. you can ask him how his day was -- he’ll tell you everything and at some point, slowly wraps his arms around you and leans his head atop your shoulder. inhaling your scent immediately calms him and he’s already starting to feel better

⋯ KELLY SEVERIDE

kelly tends to let everything build up. almost insisting he is fine and there’s nothing to truly worry about. and no matter how much you push, he’ll maintain the same story. until something just absolutely breaks him and everything that he’s kept bottled up for month finally comes pouring out. he’ll cry -- more of his eyes tearing up as he refuses to let them fall. but he practically falls into your grasp as you pull him into a hug. it’s really all he needs, just the comfort of having you near him as he talks about different things and lays his heart out on the table. card your fingers through his hair and just tell him that ‘it’s gonna be okay’. that’s all he needs for now

⋯ LESLIE SHAY

leslie, much like kelly, can be stubborn when it comes to talking about any bad days. however, she’s different as she’ll give one of the briefest overviews -- almost as if she’s giving a report, and then insist that she’s fine. all of her emotions comes out when she drinks, and you can tell she was anything but fine, considering the amount of drinks she’s already had. she’ll crumble into your arms, looking for your warmth as she begins to babble about her day and everything she was feeling. she’ll cling to you, but it’s truly something she needs as you’ve noticed her start to calm the longer and tighter you hold her

⋯ SYLVIE BRETT

sylvie will seek out comfort after a bad day. honestly, any type of comfort will help, but if given the option, she wants to spend her time cuddled into your side with her head resting either against your shoulder or chest. she doesn’t talk much about her day -- only just to tell you that it wasn’t one she would want to experience again before eventually falling asleep. she feels better with you, nothing you have to do aside from allowing her to cuddle up to you

⋯ STELLA KIDD

stella gets all quiet and short tempered. it almost takes you by surprise, until she makes a comment about her day. to which you ask her what she needs -- as she often wants different things depending on what had taken place. and once she makes her request, you’re dropping everything to do it. often, her go-to answer is to ask to be held in some way. honestly whichever way is comfortable for the two of you at the time. 

⋯ BRIAN ‘OTIS’ ZVONECEK

brian is going to get super quiet after a bad day. meaning that whatever had taken place, must have really hit him hard. like most of the others, he will seek you out almost immediately. he needs comfort and wants to decompress from what he experienced for the day. kiss away his tears, hold him tight -- he’ll take literally any form of comfort so long as you are willing to give the time

⋯ JOE CRUZ

joe takes a lot of things to heart, and while he’s been able to keep himself from taking each thing he wasn’t able to do so personally, there are times in which he can’t help but feel that. especially after a bad day. he’ll seek you out, looking for some comfort as he gets the day off his chest. he’ll immediately wrap you up in his arms, tucking his face into your shoulder. he won’t talk about it right away, wanting to see you and tell himself that seeing you is better than any bad day he’s experienced. and while he’ll come clean about his day eventually, he’s just wanting to spend as much time with you as possible

⋯ CHRISTOPHER HERRMANN

christopher tends to get angry -- never directed towards one person, just as his frustration of the day grows, it gathers to a point where he may explode and accidentally take his anger out on the closest person. he realizes that mistake literally seconds later and calms down immediately. taking a few deep breaths before sitting down to tell you. he finds comfort in your touch and will show you by kissing your knuckles before apologizing. he’ll spend the night making it up to you, and in turn, it helps him settle in and finally gain some closure for the day

⋯ VIOLET MIKAMI

violet will put on a brave face and will power through the rest of her shift until she can have a moment to decompress. which is usually once she gets home and she can let her emotions out about her bad day. depending on the scale, there will be tears and she’ll hold onto you tightly as she lets it all out. she wants to be with you, and most likely won’t be getting up from her spot unless you manage to coax her to either eat or take a shower. otherwise, she’ll be content laying against you until she feels ready enough to detach herself form you

⋯ EVAN HAWKINS

if anything, evan grows more frustrated with himself. slowly begins to fall down the rabbit hole of ‘what ifs’. trying to think about what he could have done differently to change the course of the day he’s been having. he’s patience wears a little thinner and sometimes he can be a bit of a pain to have a conversation with. until he gets home and he crumbles, talking your ear off about how his day had been until he practically runs out of breath. he feels better afterward and can usually move past that day but it will always stick with him as he could have done better

⋯ GREG GRAINGER

greg tends grow quiet, almost closing in on himself and trying his best to get through the rest of his shift before going home. the second walks through the door, he’s immediately finding wherever you are in your shared home and latching onto you with already tear blurred eyes. he doesn’t really want to talk about it just yet, just needs to hear you talk gently to him and hold him close. he’’l eventually come clean about what took place, but he needs his own time to think through what had happened

blog navigation ⇢ [ one chicago masterlist ]

[nofatclips]

Live version of Travel by Images In Vogue from the collection album Incipience 4: Live at LuvAFair October 6th, 1982, part of the Incipience 1981-1983 box-set

[2000skid4ever]

Officially made sonic and mega man crossover comics from 2013 and 2015 (image 5 is officially made artwork for the 2nd crossover worlds unite)

[stellaridegifs]

[cas-kingdom]

I’d love it if you could write

“Well, this went horribly wrong…” And “Idiots. They are all idiots.”

With Chicago Fire pretty please ❤️

The atmosphere of Firehouse 51 was one of absolute secrecy. The majority of the house had crammed into the common room, some filling food dishes while others strung up decorations, each person adopting a very temporary and absolutely rare attitude of quiet.

"Hey, Kelly, grab that," you whispered as loud as you could. Balancing on the edge of an armchair, you had been attempting to stick a Happy Birthday banner above the doorway.

Kelly put his stack of party hats down and rushed over to help. "Where am I going?" he asked, taking the end of the banner. He pulled it over to the other side of the room, standing on the tips of his toes to stick it in the corner. "Here? Hey, Stella, pass me the tape?"

Sylvie slapped Mouch's hand as it reached for the bowl of popcorn. "Uh, no! Hands off the party food, Mouch."

"Oh, come on, there's more than enough here," Mouch sulked.

Sylvie stared. "Off."

"Guys, where am I putting these party poppers?" Violet called, slapping a hand over her mouth when a chorus of hushes came her way.

Cruz pointed towards the pile of presents on a table. "I think Y/N said over there."

Hermann cursed. "Damn, I think I forgot my present."

"No, no—" You turned momentarily away from the birthday banner, which you were still struggling to hang up the right way, to point Violet in a different direction— "By the cake."

Stella, about three party hats on her head, frowned. "Did that personalised birthday sash every arrive?"

"Mouch, I said off the food!"

"Please, Sylvie?"

"Y/N," Kelly said, "this is impossible." The birthday banner did not want to stay up, its finicky material ripping and slipping every time you and Kelly tried to stick your respective ends to the wall.

You, ever the tenacious one, set your lips in a tight, determined line and frowned as you concentrated. "Nothing's impossible Just—reach a bit more—"

Ritter's voice, riddled with nervous laughter, broke through the quietude of the common room. "Uh, guys?"

"What in God's name are you doing to my firehouse?"

Your head swung around so fast you lost your balance on the edge of the chair and fell, only saved from falling in a heap on the floor by Cruz, who caught you and steadied you.

Chief Wallace Boden stood inches in front of the open doorway, stern face surveying the common room's new features. Behind him, Capp and Tony lingered, the we fucked up looks absolutely at home on their faces. They escaped not a single glare from the occupants of the room, who stood scattered, each with their own job that they took one hundred percent seriously.

Capp leaned over Boden's shoulder. "You said twelve!" he hissed.

"We said half twelve!" Stella hissed back.

There was a general silence and very little movement that lasted approximately three seconds before Sylvie stepped forward, hands clasped in front of her and smiling as wide as she could without it looking too forced.

"Chief!" she said. "Surprise?" At the ensuing silence, she spun on her heel and glared until everyone shouted "surprise!"

The birthday banner fell on Kelly's head.

"Well," Hermann said around an awkward cough, "this went horribly wrong."

On any other day, in any other circumstance, you might have laughed about the upheaval. But this was a party you had been planning for three shifts. Each detail had been meticulously thought out, greatly desiring the man who'd been there for you since you were toddling around the firehouse to have a good birthday despite working. Now, that plan had plummeted downwards.

You sighed and your shoulders slackened in defeat. Noting this, and finally grasping what this was, Boden let himself smile and picked up a party hat from one of the tables. "On the contrary," he said, putting the hat on your head, "I think it's wonderful."

A chorus of cheers rounded the common room and Cruz struck up the music player.

"Thank you, guys," Boden said as he pulled you, finally grinning, into his side, "truly."

Chicago Fire Masterpost

[promosbrasil]

Chicago Fire 12x13 Promo [ Never Say Goodbye ] SEASON FINALE

[dustedmagazine]

Music is an Essential Verb: Derek Taylor 2023

Music remains, along with family, friends, and a select few venial vices, my primary daily defense against the mental erosions of spiritual malaise and existential dread. Being a humanist also means being a realist, and little looks to be different on that score in the year ahead as we continue to careen toward a bleak and self-defeating dénouement. The veil of uncertainty around what ultimately feels like inevitability redoubles the need to remain thankful for and supportive of those who devote themselves to art. Summary capsules below describe some of the sounds that kept me going in 2023.

Peter Brötzmann, Wayne Shorter, Kidd Jordan, & Charles Gayle

“The trauma of my generation was what our fathers had done to the rest of the world, and so we said, ‘never again,’ and that was the whole impetus through all my life, and it still is.” ~ Brötzmann (2018)

Musician attrition and demise are dispiriting aspects of every annum, but the departure of four disparate octogenarian reedists exacted an especially steep emotional and cultural toll this year. Shorter and Jordan passed away in March, each of them leaving a rich legacy as indefatigable improviser and altruistic educator that continue influence and inspire. Brötzmann exited in June after the return of a protracted respiratory illness. Few if any can match the magnitude of his mileage and six-decade itinerary as an irrepressible, obstinately adventurous world traveler. Gayle ascended in September, an ardent, uncompromising eremite to the end. All four men left behind discographies and concert/interview footage that will leave the faithful and curious listening and marveling in perpetuity, but their collective absence still aches.

Kirk Knuffke & Joe McPhee Quartet + 1 – Keep the Dream Up (Fundacja Sluchaj)

One of the manifold joys of following the output of Kirk Knuffke is anticipating who he’ll collaborate with next. The cornetist’s ears and imagination are as huge as his heart, a trait he has in common with the equally equanimous Joe McPhee. They’ve known each other for years but Keep the Dream Up is their first released collaboration and it’s an affirming alloy of their complementary creative temperaments. Longtime McPhee comrades Michael Bisio and Jay Rosen complete the quartet with bass clarinetist Christof Knoche comprising the additive on a Brooklyn studio session that captures collective creative lightning in a digital bottle. My album of the year for these reasons and more, although hopefully Joe will bring his brass to a follow-up conclave soon.

Don Byas – Classic Sessions 1944-1946 (Mosaic)

Saxophonist Don Byas recorded prolifically during the 1940s. His porous sound and popular style bridged the schools of swing and bop through prowess and panache aligned with the most esteemed of post-WII tone scientists. That sustained industriousness hasn’t reflected in reliable access to his works, primarily because they’re spread across a plethora of independent labels and competing copyrights. Leave it to Mosaic Records to rectify the longstanding reissue lacuna. This long gestating collection corrals and sequences the bulk of them across ten discs, scrubbing their sound, and adding an expansive cache of rarified verité concert recordings made in a Swedish jazz fan’s residence. Indulging in one’s Byas bias has never been easier or as edifying.

Fred Anderson – The Milwaukee Tapes Vol. 2 (Corbett vs Dempsey)

Patience and long-game aptitude are among music producer/archivist/advocate John Corbett’s virtues. This unexpected, but abundantly welcome sequel to an archival Anderson collection on Corbett’s long defunct Unheard Music Series took 23 years to secure commercial circulation and offers an additional hour-plus from the same gig in improved sound. Fellow AACMers Billy Brimfield and Hamid (nee Hank) Drake join bassist Larry Hayrod in bringing vibrant, detailed life to the Lone Prophet of the Prairie’s (as Anderson was affectionately known) serpentine, cerulean melodies. Corbett’s current label released a plenitude of music in 2023 (see also below) but the uncommon opportunity to hear more Anderson of any vintage makes this release worthy of independent mention.

Jason Adasiewicz

Corbett vs. Dempsey also had a welcome role in Jason Adasiewicz’s return to record with two different projects. On vinyl, Roy’s World documents a 2017 Chicago studio session by the vibraphonist’s quintet originally intended as the soundtrack to a film based on neo-noir novelist Barry Gifford’s short stories. Chicago stalwarts Josh Berman, Joshua Abrams, Hamid Drake, join saxophonist Jonathan Doyle in the ensemble for a program that sounds at once fresh and nostalgic while always vital. On CD, Roscoe’s Village dispenses with band for a solo selective foray through the songbook of Roscoe Mitchell including evocative renderings of “Congliptious” and “A Jackson in Your House” that retain the composer’s essence while striking out in bold new directions.

Natural Information Society

Grounded as it is in core voices of guembri, frame drum and harmonium, codification of Josh Abrams’ NIS as a jazz ensemble immediately feels reductively incomplete. All participating instruments can be active architects in the undulating, melody-laced drones that frequently form the basis of the band’s gradual, granulated improvisations. Performances are more akin to collective expeditions where a galvanizing gestalt effect is afoot; one where earned communal peaks preserve the individual power and agency of the interlocking parts. Since Time is Gravity augments this already catalytic template by incorporating a larger contingent of Chicago colleagues including tenorist Ari Brown to the equation.

Abdul Wadud

A jazz-based improviser on the cello who didn’t double on other stringed instruments, Wadud was also a consummate collaborator and sideman. Magnanimity in lending his substantial talents to the projects of others resulted in a paucity of albums under his own name. By Myself from 1977 on the Bisharra label is a revelatory anomaly on that self-effacing resume. Wadud approaches the instrument as a multifaceted sound factory, plucking, strumming, and bowing, often simultaneously, to create solo tone poems steeped in personal poignancy. Gotta Groove’s vinyl reissue is a beautiful facsimile of the original album object in faithfully reconstructed fidelity.

Marion Brown

Georgia-born altoist Marion Brown had a lengthy, storied career but the body of recorded work that he left behind can present difficulties in terms of ingress to its totality. Scattered across labels, years, and circumstances, much of it is either out of print or commercially unreleased. That collective relative obscurity makes a trio of releases, two on the German Moosicus label, and a third Record Store Day viny reissue of Brown’s 1970 studio duets with Wadada Leo Smith under the shared sobriquet Creative Improvisation Ensemble even more valuable. Of the former two, Mary Ann presents concert material by Brown’s quartet from a 1969 Bremen club gig in soundboard fidelity. Gesprächsfetzen & In Sommerhausen combines two more German concert snapshots, quintet, and sextet, from 1968 & 1969 with Gunter Hampel originally released on the Calig imprint. Steve McCall is a boon on drums in all three contexts.

Art Pepper – Complete Maiden Voyage Recordings (Omnivore)

Art Pepper was an inveterate rake for most of his life, magnifying destructive interpersonal tendencies with drugs and frustratingly frequent acts of self-sabotage. That star-crossed propensity makes the fact that he left so much magnificent music even more miraculous. This lavish box is a fascinating compendium of the constantly competing artistic contradictions at his center, collecting a quartet gig across three nights and seven club sets in Pepper’s native Los Angeles, ten months prior to his premature passing at 56. Over half of the music is previously unreleased and the rhythm section, led by the impeccable and implacable pianistics of George Cables, gives Pepper a cumulative confidence boost that keeps him on the rails. None of it has ever sounded better.

Pan Afrikan People’s Arkestra

Los Angeles of the late-1970s was an unforgiving environment for the economic necessities of orchestral jazz. The Pan Afrikan People’s Arkestra, under the nominal leadership of pianist/composer/community organizer Horace Tapscott, was a tenaciously subversive force in the face of that ruinous rule. Adopting the Immanuel United Church of Christ as an informal base of operations, the large ensemble resourcefully engaged in an ambitious series of concerts in 1979. The Nimbus label, long a Tapscott exponent and repository, released the first three entries this year in an archival subscription series collecting the voluminous results. Titles are also available individually and present the pivotal band at a performative peak with star soloists Sabir Mateen, Billy Harris, Jesse Sharps, and Robert Miranda shining just as bright as their fearless foreman.

Alan Skidmore – A Supreme Love

Unexpectedly issued on Mark Wastell’s Confront label, an imprint better known for its fealty to free improvisation, this six-disc archival tribute to Alan Skidmore’s 70+ year career in music launches with the saxophonist’s 1961 radio debut and lands some seven-hours later with his intimate 2019 rendering of John Coltrane’s “Psalm.” The aural expanse between is brimming with bright moments and luminary collaborators the likes of which include Tony Oxley, Kenny Wheeler, Wayne Shorter, Dave Holland, Mike Osborne, Elvin Jones, and another dozen name drops from the top tier of improvised music. It’s a wild, illuminating ride and a sterling example of a musical memorial done right.

The Jazz Doctors – Intensive Care/Prescriptions Filled: The Billy Bang Quartet Sessions 1983/1984 (Cadillac)

Billy Bang and Frank Lowe shared a bottomless fraternal bond forged through parallel traumas internalized in Vietnam and expressed by the subsequent embrace of the restorative power of improvised music. The pair of sessions (one reissued, one archival) collected on this disc epitomize their deep attachment arguably as well as any of their other numerous collaborations. Outside the cardinal duo, the Jazz Doctors never really had a stable lineup, but the quartets here embody two of their best. Both programs are loosely adherent to freebop conventions with violin and tenor saxophone combining over contrabass and drums for a potent front line. Bang and Lowe are long gone now, their shared absence making the availability of this music even more precious.

Attila Zoller & Jimmy Raney

Hungarian guitarist Attila Zoller had selective affinity for other artists on the instrument, so much so that his mid-career period is seeded by fateful encounters with plectrist peers. Most prolific among these partnerships was his prudent pairing with Jimmy Raney. A popular proponent of bop-based jazz, Raney was in a similar exploratory headspace when the two joined forces on a trio of recordings for the German L + R label over a seven-year span. Concert dates from Frankfurt (’80) and Berlin (’86) find the duo spooling out lengthy dialogues that dabble in free improvisation while keeping codified melodies within reach. An earlier New York encounter (’79) explores their rapport in a studio. All three reissues on the Japanese Ultra-Vybe imprint are aces.

Steve Swell’s Fire Into Music

Simultaneously emblematic of NYC free jazz in the early aughts and fiercely dedicated to resisting pitfalls of provincialism by touring generously and rigorously, trombonist Steve Swell’s Fire into Music was one of the finest quartets of its kind. Posthumously dedicated to the late altoist Moondoc, this three CD set collects a trio of small venue concerts by the band from gigs in Texas and Ontario. As with the horns, William Parker and Hamid Drake are ideally suited to the extended, expository freebop safaris that formed the ensemble’s flexible repertoire. Swell’s the leader on paper but sagely embraces musical communalism without fail.

Intakt

Running a physical media imprint in the 21st century is an inherently parlous enterprise, but this steadfast Swiss label continues to evidence how it’s done. This year’s standout catalog entries include Andrew Cyrille’s Music Delivery/Percussion, the octogenarian drummer’s third solo album and first in 45-years; bassist Jöelle Leandré’s solo Zurich Concert; pianist Aruán Ortiz’s Serranías Sketchbook for Piano Trio; Beyond Dragons by the trio of saxophonist Angelika Niescier, cellist Tomeka Reid, and drummer Savannah Harris, and Ohad Talmor’s Back to the Land, a quartet-plus-guests survey that takes its compositional focus an archival workshop date by Ornette Coleman and Lee Konitz.

Ezz-thetics

The appearance of the Swiss Ezz-thetics imprint four years ago raised both eyebrows and ire. Lacking access to master tapes, veteran free jazz and new music producer Werner Uehlinger sourced commercially released editions instead, employing ace audio engineer Peter Pfister succeeded by Michael Brandli to rejuvenate and refurbish the recordings, stateside copyright considerations be damned. Reaction was expeditious and polemical, but proof is in the hearing as most of the label’s dozens of releases sound better than their original incarnations. Catalog highlights this year include another round of Albert Ayler airshots including his pivotal meeting with the Cecil Tayor Trio in 1962 on More Lost Performances, Charles Mingus’ At Antibes 1960, and Ornette Coleman’s At the Golden Circle.

Fresh Sound

Jordi Pujol is akin to Uehlinger in that he refuses to let his vision and ambitions as a producer be abbreviated by external opinion. In Pujol’s case it’s yielded a bountiful inventory of antiquarian titles that rights holders have shown little to zero interest in restoring to begin with. Cases in point for this year include a definitive collection of obscurando saxophonist Boots Mussulli’s works; concert and studio collections by the Count Basie alumni tandem of Al Grey and Billy Mitchell; hens’ teeth rare leader sessions by Arthur Lyman vibraphonist Julius Wechter; and a two-fer of Julliard-trained Ellingtonian Cass Harrison piano trio albums. Exciting guilty pleasures all around.

Playing for the Man at the Door

As complex as he was controversial, Robert “Mack” McCormick deserves consideration in the esteemed company of other maverick cultural archivists like Alan Lomax, George Mitchell, and Harry Smith. With a preservationist purview mostly comprising Texas and bordering states, McCormick spent much of his adult life obsessively documenting and disentangling the cultural capital of the region through recordings, photography, interviews, essays, and research. Smithsonian Folkways became repository for the massive reservoir after his passing and this box is the first in what will hopefully be multiple dispatches from the same. Unreleased field recordings of Mance Lipscomb and Lightnin’ Hopkins represent the big names, but works by the likes of Hop Wilson, Cedell Davis, Robert Shaw, and a handful of others are just as persuasive. Bongo Joe Coleman’s impassioned presidential pitch closing the set will have listeners pining for a time when third party Executive Branch candidacy didn’t seem so fraught.

Joni Mitchell Archives - Vol. 3, The Asylum Years 1972 to 1975

Mitchell’s continuing project corollary to her old friend Neil Young’s analogously exhaustive retrospective enterprise, this third entry in the series finds her 30-something-self further broadening the lens of her art beyond the solo concert music that dominated the first two boxes. There are stirring solitary shows here, too, but it’s the band offerings that prove most revealing, particularly in the company of reedist Tom Scott’s fusion group L.A. Express. James Taylor, Graham Nash, and David Crosby lend contributory hands, and there’s a brief but intriguing collaboration with Young alongside a trove of demos and workshop versions of songs from her first three albums for Asylum.

Martin Davidson

In closing, another memorial. Martin Davidson wasn’t a musician, but European free improvisation as an art and archive would be a fraction of what it is without his copious and enduring work. As steadfast proprietor of the Emanem label he put his resources into musicians whose efforts frequently fell outside the probability of consistent commercial remuneration. Under his aegis, influential improvisers like Steve Lacy, Derek Bailey, Evan Parker, and Paul Rutherford gained robust catalogs alongside other aspiring artists who never garnered even niche cachet. Davidson was a curmudgeon and an anachronism, trusting his ears implicitly, suffering the indignities of inquiries from strangers seeking audience with the hip hop icon who shared the phonetics of his imprint’s name, and advancing the pleasures of physical media well past their purported expiration date. He was also a talented writer, adding invaluable context to his releases through first-person testimony and critique. Martin will be missed.

And as is tradition in this 20th iteration of this year-end exercise, 25 more titles in stochastic order. Thanks to all for reading, and gratitude to Jennifer Kelly for providing the forum and formatting.

Rodrigo Amado’s The Bridge – Beyond the Margins (Trost)

James Brandon Lewis – For Mahalia with Love (Tao Forms)

Henry Threadgill – The Other One (Pi)

Guillermo Gregorio – Two Trios (ESP)

Rob Brown – Oceanic (RogueArt)

Rich Halley Quintet – Fire Within (Pine Eagle)

Milford Graves w/ Arthur Doyle & Hugh Glover – Children of the Forest (Black Editions)

Mike Osborne – Starting Fires: Live at the 100 Club 1970 (British Progressive Jazz)

Jim Hall – Uniquities Vol 1 + 2 (ArtistShare)

Madhuvanti Pal – The Holy Mother (Sublime Frequencies)

V/A – On the Honky Tonk Highway with Augie Meyers & the Texas Re-Cord Company (Bear Family)

Mal Waldron & Terumasa Hino – Reminiscent Suite (Victor/BBE)

Oum Kalsoum – L’Astre D’Orient 1926-1937 (Fremeaux & Associates)

Sonny Rollins w/ the Heikki Sarmanto Trio – Live at Finlandia Hall Helsinki 1972 (Svart)

V/A – Equatoriana: El Universo Paralelo de Polibio Mayorga (Analog Africa)

Evan Parker – NYC 1978 (Relative Pitch)

V/A – If There’s a Hell Below (Numero Group)

John Coltrane – Evenings at the Village Gate (Impulse)

Derek Bailey & Paul Motian – Duo in Concert (Frozen Reeds)

Peter Brötzmann/Fred Van Hove/Han Bennink/Albert Mangelsdorff – Outspan 1 & 2 (FMP/Cien Fuegos)

Hasaan Ibn Ali – Reaching for the Stars: Trios/Duos/Solos (Omnivore)

Mark Dresser – Tines of Change (Pyroclastic)

Steve Millhouse – The Unwinding (Steeplechase)

Myra Melford’s Fire and Water Quintet – Hear the Light Singing (RogueArt)

V/A – Destination Desert: 33 Oriental Rock & Roll Treasures (Bear Family)

[fictionalreads]

Chicago Fire Season 12 Episode 9

Mouch

Mouch she seems lowkey stalker-ish. Better not let Trudy know she likes you.

Kathy is flirting Mouch. I know you just want to be nice and do well but she’s a little weird.

AIR FRYERS ARE LIFE CHANGING MOUCH

I told you Kathy had issues Mouch.

Why is Kathy in your house? MOUCH TELL SOMEBODY CAUSE YOU CAN NOT HAVE A STALKER HELL TELL YOUR WIFE

Oh you were trying to tell Trudy. She just didn’t get the hint.

Oh no she got the hint. GO TRUDY I should’ve never doubted your ability to get the hint.

James

Homie relax. Boden’s not gonna just put you on the street. Make and save your money and move when you can.

Oh that’s why you stressing.

James. Where are you?

Of course Boden showed up.

Violet

This paramedic looks familiar.

She also seems….selfish is what we’ll go with.

Lady shut up.

Oh shit Rosie stepped up when needed. Also, I literally just learned her name.

She’s a lot.

Yeah Varver is only into PICs.

Severide

You just wanna play fire cop. You ain’t slick 😏

Oh that’s a body. That’s what you’re smelling.

Um. I don’t like the connotations that rap equals drugs. Especially when rap is predominately black. Do better writers.😒

It ain’t Antoine. I’m rooting for him.

I told y’all the owner was shady.

YEAH ITS ALL GONE MR. OWNER MAN

Oh. Did Wyatt do it? Or his wife?

Nothing improper about the acetone but the equipment

Do I believe her? I don’t know. Cause it’s real easy to blame a dead man.

Severide is just so fucking cool.

Emergencies

Owner seems nice. Call me paranoid but I don’t trust him.

Put the gun down kid.

Why is he holding his head like that?

Miscellaneous

So apparently Rome Flynn is gone for good. I’m feeling some type of way.

Kylie’s here! Oh just as a floater.

RITTER’S BACK!