mjazzg

So many contributions

As much as I miss Paul's contributions which is a lot, I think that's a bit unfair on our new arrivals some of whom have helped re-energise the forum as far as I'm concerned.

Resisted them

Scared the kids (and some adults), I heard

There's a little discussion of them in the "What did you buy" thread I picked all three up today and I'm on the last side of the twelve. Fabulous sound quality, great playing by Kleinschuster's band, lovely arrangements and each guest is on top form. The best of the three for me is the Henderson/Goykovich, but that's just on first listen. I found the Slide Hampton sides a bit pedestrian.

Liz & The Misrepresented - Trussed Up, F**ked Up

Me too, I hoover up all his releases, from solo to the Exploding Star.

Is there something here too about the differing methods of the commodification of visual art as opposed to music. Canvasses, sculptures etc are sold as one-offs, or at the most limited runs, which creates a sales hype and resultant more exposure and a likely more general interest. Think of the really popular visual artists and their respective market values. It's unusual for visual art to become widely known if it's not already made a sizeable splash in the market. As opposed to orchestral music which is initially played to an audience necessarily restricted by concert-hall attendance and maybe to a wider audience if broadcast but that's not going to be prime-time for new music at any time. Then the audience has the potential to grow if a recording is made, likely on a specialist label. Eventually it may get picked up and programmed amongst some of the more well known composers' works and get greater exposure. Sometimes it may be championed by a conductor but it's still not getting any kind of wide exposure so who's going to hear it or hear about it enough to generate interest to attend a concert even if it is programmed? That is a great photo

I'd recommend finding a reason to knock off early The brass arrangements of the Henderson "hits" are gorgeous

Erich Kleinschuster 6tet - ORF 1968-69, feat. Clifford Jordan, Charles Tolliver {WallenBink, UK 2022] first listen to the Jordan, sound is superb as is production quality of the sleeve. Music shines, Jordan in full effect

What a legacy, which will never die as long as people are listening to music

Lovely, thank you. I streamed 'Extensions' on my early morning walk in the park yesterday, ideal way to start a day. I'll pick another this morning

Dan hit a couple of bulls-eyes with the Tippett and Crispell, great albums both

Thank you!

From the blurb...the samples sound great " Recorded at the ORF studios in Vienna, where trombonist Erich Kleinschuster ran a very tight house band, a glittering array of guest leaders " and " Erich Kleinschuster’s projects and initiatives played a vital role in establishing a spiritual home for jazz in Vienna. The founding of his sextet in 1966 and, in 1968, a jazz department at the Vienna Conservatory, were catalysts for a scene that attracted international stars as well as nurturing the careers of home-grown virtuosos. Many jazz exiles, admired in Europe as they never were in the United States, settled for long periods, carving out new lives on the continent. The recordings in this series – many only recently discovered and presented for their first time on these vinyl editions – provide an illuminating and long overdue testament to one of the unsung forces of modern jazz in Europe." I suspect @soulpopemight be able to help us?

always happy to add a new Mangelsdorff to the collection but the clincher is the track by Zagreb Jazz Quartet whose album "With Pain I was Born" is a particular favourite. thanks @Rabshakehfor posting this recently. Also looking forward to collecting these from Honest Jon's this week

Thanks not-John Thanks

I'm very tempted What other Jamal albums from this time should I be listening to, John?

Same record, better sound I thought. The Outernational is cut at 45 and sounds a bit boomy (technical term).

Has the dust settled? It's not so long ago that Nimbus issued 'and Winds' for the first time and Mr Bongo have their live issue imminent. I suspect the reactivated Nimbus will do more, I have no evidence to support this suspicion At the risk of seeming contrary, the Jesse Sharps is a highlight for me, the Nimbus edition rather than the earlier Outer national. The Dark Trees are consistently rewarding too 'The Call' was an old favourite and I think is probably the most focussed of the larger ensemble releases. At the risk of diverting the thread, not reissued but absolutely marvellous is Miranda's solo recording 'The Creator's Musician'. Don't sleep on 'Aiee! The Phantom ', not recently reissued but was an absolute revelation when I first heard it, many moons ago. Also on Arabesque 'Thoughts of Dar Es Salaam'

Children as well? I love this album and have you to thank very much for the introduction to it

Ronnie's carpet sitting, lovely!

I don't really understand this viewpoint. I started listening to Jazz at the time of those albums and Blakey's mythos was well and truly in place by then. He was ART BLAKEY beloved of the Jazzdance crew as much as standard bearer for all things "proper" (read acoustic) Jazz. His appearances at Ronnie's were like meetings of the believers come to witness - mythos in action. I suspect most people came to see AB irrespective of who was in the line up. "Let's go and catch Donald Harrison at Ronnie's tonight, he's playing with some old drummer" wasn't much heard in Soho I hazard to guess The contemporaneous releases were listened to but were no way held in the esteem of the BNs. I'd go as far as to say that for some they actually created small dents of disappointment in that mythos you mention - debate upthread notwithstanding.

Roach definitely, for the variety I tend to like the Blakey pre-60s bands more than the BN big hitters. Roach I like across the career.