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I was in a house band at a club called La Roca. The band was called La Roca's Tropicale and we played the type of musics you're describing. There were seemingly innumerable stocks of all kinds of things I had never heard before, meaning that it had been popular for a while. I'd certainly not use this to prove a point, just saying that it's certainly not an uncommon vernacular term.

Mozart String Quartets K.428 & K.458 Prague Quartet

I'm canceling another picnic in the side yard.

This.

https://www.discogs.com/sell/list?sort=price%2Casc&master_id=280490&format=CD plenty of options if wanted on cd though. It’s widely avaible on that format. On vinyl it was pretty rare/expensive.

Ts-find, from the bin, ridiculous !!! Holy stuffings

Eddie Condon “Jazz as it Should be Played” Jazzology cd 500×500 28.5 KB Bass – Bill Goodall Clarinet – Tommy Gwaltney Cornet – Wild Bill Davison Drums – Frank Marshall Guitar – Eddie Condon Narrator – Eddie Condon Piano – Don Ewell Trombone – George Brunies December 1. 1968 Place: Manassas Jazz Festival

A funny thing about time periods is that, perhaps unlike mainstream jazz (where you could maybe argue that the Young Lions represented some sort of an end point), free jazz and improvisation really did go through a period of substantial progression after 1980. Just without thinking tol much, you had second wave / po-mo free improv; the US free jazz revival; late Loft stuff; EFI; punk free jazz; EAI and Onkyo; noise; harmolodic funk; the Downtown scene; etc. etc.. Lots of developments over the period and, in fact, a fairly clear narrative of change and development, focused on globalisation of scenes, new technology and arts institutions. Maybe it has ossified a bit now and maybe it hasn't, but those sort of issues happened long after 1980. So free jazz and improv post 1980 is a story that deserves to be told. A lot of it is stuck in the post-Counterculture / pre-digital dark zone and hasn't really been talked about like it deserves, and it feels like it is time someone really did. So thanks again to @colinmce. I believe that some of the other forum members have undertaken similar exercises too.

Oh yeah! Katchen's Brahms is wonderful.

We have had about 13" in the last 24 hours, and I've attacked it with shovel three times, kept it to an accessible and exit-able status with effort. Actually, I confess it feels good. Now I have earned a break to listen.

Starting off with Art Blakey and the Jazz Messengers “3 Blind Mice, Volume 1” Blue Note cd.

Michele Rosewoman Trio - Occasion to Rise (Evidence, rec. 1990) with Rufus Reid and Ralph Peterson

I too was a refugee from the BNBB. I don't post that often or visit these days but I find this place still a good source of information about new releases by living artists. I think I largely have my fill of back catalogue music and indeed have had to wave goodbye to many a CD or LP over the past decade. My collection still sprawls over the house to the irritation of my dearly beloved. Even more space is taken up by my many still film cameras and darkroom equipment. Joined March 7th 2003

A bit of sleet, but we got out of our hilly subdivision outside Chattanooga yesterday without an issue. When a real storm hits, this area can be shut down for several days.

Going to be anyone's Super Bowl. A lot of fans are saying that since the AFC champ game was so bad that Seattle will cake walk but the conditions in Denver were terrible. The Pats have the weapons to contend with that Seahawks defense. I think it could be a great game.

Just to add my appreciation for this list. I know, and have. lots of them but that's just an endorsement to check out all those I don't.

I suppose, though, he'd have been outdistanced by Jean-Christophe Averty over on French radio. That man was on permanent speaking overdrive on his "Les Cinglés du Music-Hall" show (which presented its share of early French and US jazz too) I tuned in to repeatedly in the 80s. And the funny thing was that there was a second host on that show who was calmer and more factual. So this one (forgot his name) came across like a sort of "straight man" to Averty. Re- the silence in Strozier's reply, I somehow understand this on the part of the interviewee. (Have heard similar situations in radio interviews elsewhere.) The radio host rambles on and on about this and that about the interviewee and tells the interviewee what he did and and did not and whatever ... (as if the interviewee would not have known for himself and been able to tell it himself to the listeners if asked the right questions ...). Small wonder some of those prodded for a reply felt like "What am I doing here anyway if YOU do all the talking?" Some interview hosts just ought to restrain themselves a little in such situations.

You should stay on the cruise for another 2-3 weeks!

January 26 Aki Takase - 1948

It is mentioned in this film that Blue Note sent her in 2001 a check of $40,000.-- against royalties. We can see also Mingus praising her wishing to work with her.

Chris Flory headlined several days at The West End in December 1979 as a "Young Swingsters". I can't figure out why but Emily Remler was called "Remlick" by Phil. I was able to verify its the guitarist who was a couple of years away from her debut on Concord because a tune they performed that is ID'd as her composition ultimately became the title track to the first Concord record, slightly modified. December 5 1979 https://aviary.library.vanderbilt.edu/collections/2137/collection_resources/164757?collection_resource_file_id=299809 December 6 with tenorman George Kelly added: https://aviary.library.vanderbilt.edu/collections/2137/collection_resources/164758?collection_resource_file_id=299811 December 7 still with George Kelly https://aviary.library.vanderbilt.edu/collections/2137/collection_resources/164759?collection_resource_file_id=299813 Many hours of enjoyable jazz.

Had my eye on this one when Jordi Sunol posted about it on FB. Thanks for the endorsement.