mjazzg

The Alan Skidmore Quintet - Once Upon A Time [Deram Nova] stereo

Count me excited by this news and duly educated by Jsngry's posted link

I've had a hard time liking this title. I only know it from the Vocalion CD. The sound seems to my ears to be impenetrable , very dense without enough separation between the instruments to make for easy listening. I've not spun it since changing my DAC so who knows it might yield more. I hope the LP is easier on the ear. Interesting. I had the CD first and it didn't make too much of an impression. The LP however does - especially the septet on side 2 which I enjoy very much indeed. I'd not noticed a contrast in the sound but I've stopped listening to the CD so wouldn't really.

The Alan Skidmore Quintet -TCB [Philips] thanks for the idea Sidewinder

Understood. All of it. I obviously wasn't clear enough when I mentioned visual fields testing. That test is designed specifically for patients that are at risk for glaucoma. Glaucoma is the destruction of photoreceptors on the retina from the outside in. So glaucoma patients start losing their peripheral vision, to the point where it's like they are looking through a straw (stage 4). So unfortunately, there is no "maybe" button. Their vision is mapped out on a circular graph which shows what they can, and cannot, see. A great example of what I'm talking about came from this one cat I tested. He told me that sometimes his wife would leave upper cabinet doors open in the kitchen, and he'd just fucking bonk right into them, because he couldn't see them. Rule of unfortunate thumb: Macular degeneration works from the inside out, glaucoma works from the outside in... You were crystal clear regarding visual field testing. I fall in the category that requires regular testing hence my experience of them

I wish they'd come over to the UK

I don't have any argument with JSngry posting the link for whatever motivation I do take argument with the content of the article and its "hey, look at the blind person who can do 'ordinary' things....shock, horror....laugh" approach. It's not really for me to take offence on behalf of anyone and I'm not claiming to. I found it unpalatable. Silly maybe, but still left a very nasty taste.Maybe I need to have a lie down btw. the technical stuff seems broadly similar but my knowledge isn't in a technical field. Field tests - taken enough of them in my time.....always want a 'maybe' button

I know that this shouldn't annoy me as much as it does but this is just offensive rubbish of the highest order. I am in contact blind and partially sighted people on a daily basis and hear enough of their stories whereby sighted people question their ability to do whatever they do in whatever way they do it. I'd suggest that the amount of distress, frustration , anger and hurt this causes should never be underestimated by those without a disability. The nonsense in this article will only fuel such prejudice.

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'm an arachnophobe

mine are a hodge podge of Libertys .......sigh. But, hey the music's fab any which way

second time through and track 6. is leaping out this time. Is that Hamid Drake and (less sure) William Parker ?

Next.... Black Fire--------------(BN NYC) mono Can't go wrong there, lovely to have them in Mono I suspect. Which one's next? Next Smokestack (NY mono) all arrived today Jealous of London. Enjoy! You've seriously disrupted CT's kharma by not sticking to the chronology though

Never heard that one

Next.... Black Fire--------------(BN NYC) mono Can't go wrong there, lovely to have them in Mono I suspect. Which one's next?

Listened now. Early thoughts on the tracks that made an instant impact: track 1. is McPhee and duly fabulous but I suspect on an album I don't own (yet) track 2. I just want to know what this is. Loved it track 4. Now this had me thinking of Rob Mazurek's solo album recorded in a castle or church in France but it's obviously not that as this is a well-loved LP. Stumped and intrigued. track 7. Motian tune and I'm fairly sure he's drumming. It sounds like it might be a live recording of a track I know better from the studio. I don't recall so much solo space on the version I know, It's ECM era and possibly Brackeen. I must play those albums again to find it track 8. I thought it was Leandre on bass but not necessarily on vocals at first then I decided it could be her on both. It's mighty fine whatever it is. Leimgruber maybe? track 11. Just stunning, completely my thing. Familiar but not so much that I think I have it (prepared to be embarrassed later). The bass line really makes this and then that front line. I'm wondering if we're talking Dennis Gonzalez and Charles Brackeen as it's reminiscent of 'Debenge Debenge'. Could it be from the CD of that (I only have the shorter LP)? track 12. Schlippenbach Trio. Can't spot the track or album right off but it's a later one I'd say Great music throughout this and bookended with absolute diamonds. Thanks for putting this together

I'm only just downloading so hope to join in soon, Desperately resisting reading the thread so I don't cheat

No, not necessarily. But I do think it's more likely to be noticed (especially in the short term) if it is noted as such. The two contemporary musicians I mentioned, Rochford and Hawkins are both quietly creating a significant body of work that continues to develop and with hindsight may end up being described as "evolves slowly" but I would still argue for both being innovators.

Might it be that whilst there has been many fine players since 80s in the UK there hasn't been very many with such an individual voice or even, dare I say, innovative approach to make themselves heard above what is now a globalised din? The UK may have produced world class players in the last 30 years but not that many who have stood out enough as different or taking the music into new areas. This might simply be down to the overwhelming noise of the din rather than the lack of real innovation although I'm not too sure. Whereas my understanding of the regard in which the 60s/70s 'heroes' are held is because they were producing music that was different - Tippett's large ensembles and Ovary Lodge, Brotherhood of Breath. Surman (see the other thread), Westbrook, Azimuth to name those that come immediately to mind (there are others I'm sure). Now I wasn't listening to these contemporaneously so can't attest to their difference or innovation then. Also was there more of a critical mass back then creating a scene, focused around particular labels Ogun for instance? In the 80s when I started listening the 'big noises' were marketed almost in reaction to that 70s scene. We got Courtney Pine, Andy Sheppard, Tommy Smith et al all dressed in suits. Each of those musicians subsequent careers revealed the marketing ploy for what it was as none of them remained ploughing that furrow. Outside this 'jazz revival' sat the marvellous Loose Tubes and their fellow travellers alongside other interesting bands such as Pinski Zoo. Not for this lot the sharp suits but sharp and often innovative music instead The Loose Tube legacy is huge in a family tree manner but who of those players have really forged individual careers of innovation? Django Bates surely. any others? Iain Ballamy with Food perhaps? Currently I can think of only and handful of UK players that are really pushing into uncharted or little discovered areas whilst not forgetting what's gone before - Seb Rochford and Alex Hawkins are both great examples of this as might be Laura Jurd, Reuben Fowler or Shabaka Hutchings in time. The improv world is different and there are players in that scene from the UK who rightly command an international reputation - witness the enthusiasm for Messrs Noble and Edwards, John Butcher, Paul Dunmall and others on this board. There seems to me more of a sense of generational progression in this music where for instance Evan Parker influences John Butcher who both influence Seymour Wright and the music is pushed correspondingly forward and outward towards new margins. I'd love to hear from others which UK musicians they feel has been truly innovative since the 80s? All of this is purely personal observation and I know names have been missed out who should have been mentioned.

....and I'm eagerly awaiting the arrival of the new Mike Osborne archival release 'Dawn' [on Cuneiform] which features JS at the tender age of 21 in what I believe is his first recording (apart for the boy soprano recordings)

Great! Looking forward to this one big time. Will dig in after the Surman-fest generated by that other thread...

Wish i could make it to Southampton to see you play with him. It's got be great, hasn't it? Are the Beeb recording it do you know?

Where to start? Surman seems to fit any sized grouping in which he performs and always stamps his personality on the session one way or another. He has an instantly recognisable sound on whatever horn (or tin whistle) he plays. I think Bev nails it when he mentions the importance of folk and choral music. I'm listening to his duo album with Howard Moody playing church organ 'Rain on the Window' and it perfectly encapsulates the manner in which he seamlessly fuses his influences. I'd suggest that for someone regarded a Jazz musician he's made relatively few straight ahead Jazz albums. i'm very fond of his solo recordings and I think those that explicitly reference his South-Western roots seem very personal works - 'Road to St Ives', 'Rev Absalom Dawe', 'Saltash Bells'. I also really like the quartet with Oxley, Bley and Peacock. In concert, The Brass Project with John Warren was one of the most exciting concerts I've attended and his solo concerts some of the most intimate (even in a large space) There's so much else. SOS and his larger band recordings in the 70s, his work with Westbrook. In fact just the recordings from what we might call the pre-ECM years stand alone as a very impressive statement. I'm sure others who enjoyed these as they were realised will chime in with more informed appreciation than I can give. Live he is one of the most self-effacing and humble musicians I've seen and always seems genuinely surprised by the positive reaction his playing generates. He also has a great sense of humour. You may have guessed by now, I'm a fan

For someone who knows little of this subject this discussion is absolutely fascinating. Thanks everyone. I'm off to find a copy of this Gioia book. After that I know I'll be delving deeper into the music than I have so far

I never tip at the bar. Don't see why I should really. More likely to if waited on at a table but still unlikely if drinks only. My barber and restaurant waiting staff and sometimes minicab drivers (but not if they don't know where they're going) are the recipients of my restricted largesse. Usually 10-15%