RogerF

Permit me to note that this writing by Dutton is not clear enough. It would have indeed been if they had wrote that the LP was "cut from the original analogue master stereo tape". Unless Dutton has INDEED access to the original tape (I refer to Sidewinder's message earlier in this thread - thanks!) but they do not want to get in trouble with the original/legitimate owner (Universal?) of the original master tape by mentioning it. Point taken, but I think the only way to determine this is by buying it in vinyl (I already have the CD) and seeing whether it is indeed taken from the original analogue master tape or bizarrely, a tape of the CD of the LP of the tape (if you see what I mean). Comparing the price of this LP to other newly-pressed ones, this is relatively cheap so I'm definitely ordering this one.

that Philips reissue of "100% proof" may have a poor cover but it sounds great. Way better than the domestic CD ( which I've long since ditched) Is that the CD that purports to be in stereo but is in fact mono? I remember there was some controversy about the sound of many of his re-issued CDs from Universal. I guess the masters could do with being given some TLC and reissued again. Wonder what are the chances of that happening.....? 100% Proof was release on CD by Universal in mono, because the stereo tapes couldn't be located. But hearing it in its original stereo as on the vinyl versions, is a real ear-opener. The big band blasts out of the speakers. As for Mexican Green, I only had a beaten-up vinyl copy which cost a small fortune to purchase secondhand, so when the CD was released by Universal Japan and latterly the UK arm, I was grateful to hear it in all its glory. I didn't find it sub-standard at all. As for "The book" I agree, it is totally un-put-downable and yes it's got to be a book of the year.

Dutton Vocalion have just released this as a vinyl LP cut from the analogue stereo tape - so that source is rather unequivocal I'm going to order this - quite reasonably priced too: http://www.duttonvocalion.co.uk/proddetail.asp?prod=VOCLP3303

Yes it was, but Simon deserves all the credit as it was an absolutely mammoth task. A really invaluable insight into British modern jazz of that period, too infrequently covered IMO.

Simon Spillett's long-awaited new biography of Tubby Hayes "The Long Shadow of the Little Giant; the Life, Work and Legacy of Tubby Hayes" is now published. I'm looking at my copy now and I can confirm that it is truly excellent. Not merely because it's the first biography of Hayes, but also because it offers a true perspective of the birth and rise of modern British jazz from the musicians' perspective. That is, by those who knew and worked with the man and provided invaluable anecdotal detail which is revealed in this book. Published by Equinox Publishing Ltd, it's 377 pages in length, with b+w photos, bibliographical information, a selected discography and is a smart hardback to boot! Very highly recommended.

Pentangle, the first jazz folk fusion band? (Danny Thompson continued this later with his Whatever group). Certainly Pentangle pre-dated Fairport Convention for "plugged in" folk! Renbourn and Jansch (also sadly passed on prematurely) were stellar guitarists and they in turn had carried on something of a jazz-blues-folk tradition from (also sadly gone before his time) Davy Graham. Folk wasn't always finger-in-the-ear stuff (not that there's anything wrong with that either!). RIP John.

Sad news that Daevid Allen, co-founder of Soft Machine and instigator of the seemingly never-ending Gong, has passed away today at the age of 77. He was undoubtedly a exceptional musical innovator without whom the world would have been a poorer and more boring place. He will be greatly missed but his music, as they say, will live on. RIP Daevid.

Suicide.

I learned today that Mike King has died. He made a substantial contribution to British jazz, releasing previously unissued archival tapes and some re-issues of long-lost albums on his Reel Recordings label. He also assisted in sourcing and mastering some of the Ogun releases of archival material. Just some of the musicians whose music he released include Ian Carr, Don Rendell, Gary Windo, Mike Osborne, Elton Dean, Ray Russell, Bob Downes and Harry Miller. But there was more too. He was also the author of the now highly sought after, long out of print book on Robert Wyatt "Wrong Movements". I met him on a couple of occasions and he was a really nice guy. R.I.P. Mike.

Alors! with John Surman and the Trio - reissued on CD a few years back is definitely worth hearing (as mentioned by mjazzg above)

The Real Great Escape by Larry Coryell - I wish this would get a CD reissue, such a great guitarist.

Nostalgia, reminiscence and the history of music, I think you've put your finger on it. Nostalgia surely is a highly significant factor in the identification of the "golden age" of British jazz? I plead guilty to nostalgia influencing a lot of my jazz proclivities. An example of this might, and I stress might, be the late Philip Larkin's stance on jazz - which was, broadly speaking that anything produced post-war was usually rubbish. I think mouldy fygge as a term to describe Larkin was too generous. However, everyone's entitled to their opinion and Larkin had his. Or as Ronnie Scott said "when I want your opinion, I'll give it to you". The trouble with nostalgia is that if you are steeped too much in it you tend to readily dismiss the contemporary stuff and considering many of the nostalgia heroes of the past are now sadly dead, it's quite dangerous to lionise them without also lending an ear to the present. Whilst much of the older music was very good, it is too easy to glorify all of it. I stand by my favourites of yore, but there is some incredible new music now being produced by the next generation and this should be celebrated, without necessarily forgetting the musical achievements of the past, some of which, to borrow an oft-employed phrase from Russell Brand created new paradigms in music.

I know how he feels. I tried so hard to like "Shades of Blue" and "Dusk Fire" as much as their reputations suggested. Nice enough but I couldn't hear anything desperately original (cloth ears?) Dare I say the same about "Hum Dono" (ducks for cover) which again didn't really live up to its build up. Whereas I thought both Harriot's "Free Form" and "Abstract" surpassed their reputations on reissue I rather like 'Hum Dono'. Agree on the two Harriotts - they did live up to the promise. It wasn't JJI...can't recall the name of that rather studious Jazz mag Richard Cook used to edit. It was Jazz Review (I'm looking at it now, Issue 63 December, 2004) and the subsequent issue (65 February 2005) contained furious letters of riposte to the Brian Morton RCQ reviews including one from Don Rendell himself. I can't say whether the five RCQ albums recorded for the EMI Columbia label under Denis Preston's supervision were earth-shattering or still stand the test of time - this is a matter of opinion. But in my opinion, certain elements of the RCQs albums were ahead of their time and in many respects the RCQ moved the canon of British jazz (almost uniquely for this time their material was all original, not dependent on American standards) forward into the "golden age". For my money my favourite RCQ album is Phase III particularly for Ian Carr's two pieces Crazy Jane and Les Neige D'Antan, previously recorded on the album Springboard (with Jeff Clyne, Trevor Watts and John Stevens) and dying to be reissued.

Talent indeed! Not surprising then that two of the participants on one of my "100" (Where Fortune Smiles, w/ John McLaughlin and Dave Holland) went on to even greater things with Miles Davis.

Bev, I think the deification aspect is somewhat determined by the sense of time and place - and I was there at that time - busier later on so wasn't there as much - although the notable aforementioned exception in Loose Tubes. I only selected 10 albums as a sample but I could have probably selected 100 from that period which to my mind were exceptional. I would be the first to admit that it's all terribly subjective but I do suffer a certain tinge of guilt from listening more to that ('golden') period than to later years by the same artists. Westbrook's "London Bridge" may be a greater work but I am more emotionally drawn to "Celebration" or "Marching Song". Like I say though, I do feel guilt over this because the musicians are developing their art over time. Perhaps as the composers' respective technical abilities and ambitions increase, the relative simplicity of their earlier works means they are easier to recall. So they're not better, just more memorable?

Graham Collier - Down Another Road Mike Westbrook - Metropolis Nucleus - Solar Plexus Harry Beckett - Flare Up Tubby Hayes - Mexican Green Keith Tippett - Dedicated to You But you Weren't Listening John Surman - The Trio New Jazz Orchestra - Le Dejeuner Sur L'Herbe John McLaughlin - Extrapolation Alan Skidmore - TCB This selection spans the five year period 1967-1971. I can remember most, if not all the music from these British jazz albums. Ask me to remember the music from 10 British jazz albums from the period 1977-1981 or subsequent years and I cannot. I think this is partially due to coincidences of extraordinary talent and serendipity more than anything else. Also they were just more memorable and, dare I say, better or more original? (runs for cover ).

I would agree with the above sentiments. For me "If" and "Grey" are the ones I would go for, "Plump" isn't bad and I haven't heard "Waterloo" (not sure why) but the two Hatfield albums with Richard Sinclair would be the albums to go for next. Those elevate the Caravan sound to a different level.

Some of these Russell albums [to my shame] I'd never even heard of let alone heard before I saw this bargain basement box. Listening to these now I am much more inclined to buy the individually produced, premium products, when they become available and then ditch the box, since I really hate the track multi-stacking aspect. So as a method of sampling the music, these box sets do have an upside.

I bought the George Russell seven classic albums for approximately a sixth of the price all seven would have cost individually. The packaging is basic but at least gives personnel details. I found the sound quality acceptable but the seven albums are merged onto four CDs, so there is some "overspill" of albums onto two separate CDs, but you get what you pay for.

Including a very rare reading of a Kenny Wheeler number from Windmill Tilter, Sweet Dulcinea Blue.

Clifford, not sure if iTunes "translates" globally (as doesn't Amazon) but on my iTunes store there are two versions of this album, one with the four bonus tracks and one with only the original seven tracks. You have to type in "Ronnie Scott and the Band" rather than merely "Ronnie Scott" to find them. Also, you could just download the four bonus tracks and they are very good. As Simon has confirmed, Mayday was Ian Hamer's tune and he wrote some good ones as evidenced by his Acropolis album.

I attended a free event (EFG London Jazz Festival-related to the next day's 'Celebrating 75 Years of Blue Note' gig at the Royal Festival Hall) with Richard Havers at the achingly hip Ace Hotel in Shoreditch(*), London on Friday (21 November) where he was interviewed about Uncompromising Expression by Jazz FM DJ Chris Philips. After this some of the actual stars of Blue Note, including Robert Glasper, came on to be interviewed. When the event had finished I went and had a look at the book Havers had been promoting, but it was still shrink-wrapped, so he kindly unwrapped it. I was actually amazed at the genuinely "lavishly illustrated" content. Despite being a 400 page hardback its in a format that makes it at least easy to handle and, more importantly, read unlike some "coffee table" books. This is definitely on my Christmas list. On Amazon (UK) at the moment for £31 instead of the cover price of £48. (*) incidentally and tangentially but not so unrelated, the ultra modern Ace Hotel which boasts Martin guitars and Rega turntables in some bedrooms(!), now also contains a new Sister Ray record shop selling only vinyl.

An excellent review of this concert has just been published at the London Jazz website here: http://www.londonjazznews.com/2014/11/review-dedication-orchestra-at-queen.html and gives the full personnel details

Yes Claude Deppa was listed on the QEH website as one of the participants. I also would like to know who the trombonist doing all the stuff with the mute was - real touch of the George Chisholms there ;-)

I was there too Bev! Sorry we didn't meet up. A terrific concert and as I was sitting in the back row but one I only identified around 2/3 of the musicians. I think I saw Chris Biscoe and definitely saw Julian Arguelles and Mark Lockheart in the horn section and also Chris Batchelor on trupet. Also thought I might have glimpsed Mark Charig but only as they all left the stage! I think Clevaland Watkiss was one of the four vocalists in the back row. Really great concert and probably my gig of the year.