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Maybe because it's not a "group" in the stricter sense of the word but the jazz unit of the WDR (WestDeutscher Rundfunk) radio station based in Cologne/Germany. So by its nature it's a fluent project that above all has provided the jazz big band backing for many different featured artists, something that probably would be hard to work into the framework of a "box set". https://en.wikipedia.org/wiki/WDR_Big_Band

Miles Davis Quintet “Live in Europe 1967–Bootleg Series Vol. 1” Sony Blu-Spec CD edition, disc 2 This disc contains 2 November 1967 at the Tivoli Gardens in Copenhagen, Denmark plus the beginning of 6 November 1967 at the Salle Pleyel in Paris, France. Sound is not perfect but decent. Interesting performances. I prefer earlier recordings of this quintet but they were a formidable and influential group in modern jazz.

Yes. NP: Magnificent.

I think you made the right analysis @Rabshakeh: I see the same things. The so called spiritual jazz movement seems to do well with a younger generation and especially artists like Pharoah Sanders and Alice Coltrane are popular. When I attended an Evan Parker gig in Gent there we're also quite some younger people that seamed to be there mostly because they wanted to drink a beer and hear what this guy was all about. I don't think they actually had any of his records or something like that but they we're interested in some way. In my experience the Scandinavian jazz scene seems to attract younger people also: when I saw groups like Atomic and The Thing there we're more people of my generation (born in the '90's) then let's say the times I saw Bennie Golson or Sonny Rollins. I have mixed feelings about it. I think a part of them is sincerely interested in the music and another part is mostly doing it because they feel hip/part of a cultural minority/misplaced intellectual feelings etc. I'm skeptic about peoples behaviour trough social media as well. Before you know it some hipster publishes a list of 30 must hear freejazz records without including Anthony Braxton, Steve Lacy, Sam Rivers, Cecil Taylor or as you mentioned the great John Coltrane. When their interest is sincere: I feel so happy the music gets more interest. When their interest is shallow: please stay away.

The session was included on the Mosaic box set of Bud Shank’s Pacific Jazz sessions. Never seen a copy of the original LP tho’ or the UK version.

I like Slam's playing myself. From way back when with Slim forward. Now Walter Bishop Jr’s Fourth Cycle “Keeper of my Soul” Black Jazz cd 342×342 16.3 KB Bass – Gerald Brown Drums – Bahir Hassan Flute, Saxophone – Ronnie Laws Keyboards – Walter Bishop, Jr. Percussion – Shakur M. Abdulla Vibraphone – Woody Murray

Looking up Oscar Dennard's Tangier recording, I found this: https://africasacountry.com/2017/10/tangiers-jazzmen-and-their-phantom-producer

Both excellent Muse LP's. Is this the 32 jazz cd reissue?

Young people listening rapt to EP and PB, whatever next, that's Oto for you! Flippancy aside, I think you hit several nails squarely on the head. Alice as the most hip of the Coltranes is very apparent I think. I'm listening to Kahil El'Zabar at the moment. Someone else whose recognition levels in the east of Dalston population is high. Deservedly so, and I think a positive example of how a younger audience can connect to someone who's most definitely paid his dues, several times over and deserves the benefits.

Disc 1 - originally released as Consciousness

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AMM – Before Driving To The Chapel We Took Coffee With Rick And Jennifer Reed I had a listen to this after it was mentioned a few days ago. Tatum is brilliant on this but I struggled a bit with Stewart: that sawing thing he has going sort of kills the rhythm.

I'm just wondering why there's never been a box set of this group?

Did the guys from the Art Ensemble of Chicago ever visit African countries? I vaguely remember video footage of Roscoe Mitchell playing in Morocco? Perhaps @Chuck Nessa knows best. In Ghana I was also remembered how silly it is that we always talk about Africa as if it's one country (as some people always speak about Europe too). The cultural diversity is so immense. I've visited Morroco, Egypt, South-Africa and Ghana and all of those countries are incomparible to each other. In fact: the local pastor told me that Ghana itself consists of 75 kingdoms with their own kings and own language. 75 languages in a country only 4 times as big as the Netherlands! Every king still has power: a kind of power that runs parralel to that of the Ghanean government. Under those kings there are the village chiefs that run the village together with the village council that consists of the elders. Western people try to pretend that those societies are primitive where they are actually very complex. Those kingdoms made me think immediately of this: I now know that's Fort Elmina on the cover and no castle. We've visited that the last day we were in Ghana. It's the oldest remaining fortress and it was the place where my Dutch ancestors shipped ten thousands of slaves in the most horrible conditions. It was very impressive to visit. Makes me also wonder if John Carter and/or Bobby Bradford visited Ghana or other African countries. Carter made more albums that reffered to West-African culture. Perhaps again @Chuck Nessa knows best?

Pim, you're on a roll! Love those two LPs! 👍 👍 👍

“Jack Teagarden and His Band: Live at the Royal Room Hollywood, 1951” Vernon cd It’s time for T! A family affair here, with Charlie Teagarden on trumpet, Norma Teagarden on piano and “Momma” Helen Teagarden guesting on piano on two tracks. 351×349 34.4 KB

Thanks all guys for replying. My goal with the thread wasn't nessicarily the dropping of names but more detailed information would be appreciated if anyone knows of course. AI gives me this: 🇺🇸 Randy Weston Nationality: American Country in Africa: Morocco (primarily Tangier) Period: From 1967, approximately 5+ years resident Type of stay: Long-term residence Activities: Relocated to Tangier after a U.S. State Department African tour Founded the African Rhythms Club Collaborated extensively with Gnawa musicians Integrated North and West African rhythmic structures into jazz composition Significance: A central figure in Afrocentric jazz philosophy, framing jazz as part of a larger African continuum. 🇺🇸 Don Cherry Nationality: American Country in Africa: Morocco (including Jajouka, Rif Mountains) Period: Mid-1960s onward (no fixed documented residency length) Type of stay: Extended immersion periods Activities: Lived and performed with local musicians (including the Master Musicians of Jajouka) Studied ritual and collective musical forms Developed an early “world jazz” approach integrating African and non-Western traditions 🇺🇸 Robert "Juice" Wilson Nationality: American Country in Africa: Morocco (Tangier) Period: Settled in 1936 (exact duration unclear but long-term) Type of stay: Emigration Activities: Performed in Tangier’s International Zone jazz scene Became part of one of the earliest North African jazz communities 🇺🇸 Benjamin Boone Nationality: American Country in Africa: Ghana (Accra) Period: Approx. 1 year Type of stay: Fulbright residency / academic exchange Activities: Research in Ghanaian music traditions Performances and recordings with local musicians Cross-cultural jazz collaboration 🇺🇸 René McLean Nationality: American Country in Africa: South Africa (notably Cape Town) Period: Mid-1980s to late-1990s Type of stay: Long-term residence / educator Activities: Consultant at Mmabana Cultural Center Faculty member at University of Cape Town Developed jazz education and research programs 🇺🇸 T. K. Blue Nationality: American Countries in Africa: Multiple (West and North Africa) Period: Repeated stays over several decades Type of stay: Extended project-based residencies Activities: Cultural exchange leadership Performances and Afro-diasporic research Longstanding collaborations rooted in African traditions 🇩🇪/🇺🇸 Volker Goetze Nationality: German-American Country in Africa: Senegal (West Africa) Period: Long-running collaborations (2000s–present) Type of stay: Repeated extended artistic residencies Activities: Close collaboration with griot master Ablaye Cissoko Album production and intercultural composition Deep engagement with Senegalese musical traditions 🇫🇷 Martial Solal Nationality: French (born in French Algeria) Country in Africa: Algeria (Algiers) Period: Youth until 1950 Type of stay: Upbringing and early musical formation Activities: Developed early jazz language in Algiers Studied and performed before relocating to Paris 🇫🇷 Didier Malherbe Nationality: French Country in Africa: Morocco (Tangier) Period: 1964–1965 Type of stay: Extended stay / musical immersion Activities: Lived in an artistic community Absorbed Arabic modal systems and rhythmic concepts 🇫🇷 Barney Wilen Nationality: French Countries in Africa: Morocco, Algeria, Niger, Mali, Senegal, Burkina Faso Period: 1969–1970 Type of stay: Extended travel and field recording Activities: Recorded material later released as Moshi / Moshi Too Documented and incorporated local musical traditions 🇺🇸 Al Cohn, 🇺🇸 Billy Mitchell, 🇺🇸 Dolo Coker, 🇺🇸 Leroy Vinnegar, 🇺🇸 Frank Butler Country in Africa: Senegal (Dakar) Period: 1980 Type of stay: Live recording session Activities: Recorded the live album Xanadu in Africa in Dakar Among the earlier documented bebop recordings on African soil 🇺🇸 Archie Shepp Nationality: American Countries in Africa: Primarily Algeria; also broader Pan-African engagements Period: Late 1960s–1970s (notably participation in the 1969 Pan-African Cultural Festival in Algiers) Type of stay: Extended visits / cultural-political engagement Activities: Participated in the Pan-African Cultural Festival (Algiers, 1969) Engaged with African liberation movements and musicians Incorporated African political consciousness and musical elements into his work Significance: Key figure linking avant-garde jazz with Pan-Africanism. 🇺🇸 Steve Reid Nationality: American Country in Africa: Ghana (primarily), extended West African engagement Period: 1970s (several years living in West Africa) Type of stay: Long-term residence / study Activities: Lived in Ghana studying traditional percussion Immersed himself in African rhythmic systems Integrated African polyrhythmic concepts into spiritual and free jazz contexts

with Craig Taborn, Adam Rogers, and Nate Smith Helluva band, helluva record.

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Maybe partly because my eyesight is not great but I have never understood the appeal of accessing the internet on a smartphone. I have an iphone and love it because it's a phone, an alarm clock/stop-watch, a decent camera, a compass, navigation system for car, an ok music player in a pinch with headphones, etc. But I don't generally look at things like photos or even mail on the phone. If I take photos I look at them on a pc. Email - pc. Social media - pc. You-tube and spotify - pc. Newspapers - pc. Those phone screens are too small, the speaker sound is horrible, and it's hard to maintain good posture while using them. If I'm gonna squint I'll squint at something bigger like a biggish monitor. Leaving the device aside, I agree with you about all the distraction of phone/social media etc life. These last few years I have spent so much time doom-scrolling. Recently I got very fed up with being over-stimulated and frustrated and have begun to go back to my old, pre-internet habits of reading books all the time. Stories are good entertainment and they provide a comforting way for us to see a bigger picture from a lofty vantage point where the beginning, middle and end are available to us, unlike our moment to moment experience which is just now and where the endings of things are unknown.

Hal Singer