Re: For Trio

In Reply to: For Trio posted by mygodhat on August 30, 1999 at 13:55:44:

The correct title of the work is simply TRIO. I originally recorded it on a quartet recording THE ARCHIE SHEPP--BILL DIXON QUARTET that consisted of trumpet, tenor saxophone, doublebass and drums. This recording was done in 1962. (Note: consult my webpage for details).

I cannot advise you as to the best way to obtain my "old" work since MY main preoccupation is attempting to continue my present work. There is (or was) a good record seller called DAYBREAK EXPRESS, located in Brooklyn, NY, that at one time had access (for sale) to almost all of the older recordings. Since my ' 60s work consisted of: THE ARCHIE SHEPP--BILL DIXON QUARTET (Savoy, MG-12178); THE BILL DIXON SEVENTETTE (Savoy, MG-12184; and INTENTS & PURPOSES: THE BILL DIXON ORCHESTRA (RCA Victor, LSP 3844) /See webpage for further details/, all of my works done over thirty years ago, I, like most creative musicians, have found it all that I could do attempting to CONTINUE work rather than, rightly or wrongly, being overly or scholarly concerned with the likes and whereabouts of works that I've ascribed to the past. I can only ponder what my (then) future would have portended had the interest in my THEN work been the source of both interest and query that it seems to have evoked now.

Re: "tuition/study of avantgarde jazz at college level", if you mean is the study of the avantgarde (in jazz music) available as a study in degree granting institutions, I can only say that I would imagine so, but things being what they are (and I'm no longer teaching formally) I cannot say that as a fact.

My question to you: Do you own (have you listened to) any of my work from 1980 to the present? And if not, then why not? As any artist will tell you when pressed, it is the PRESENT work that is of the most interest and significance to the artist. Would you not agree? And if not, then why not?

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