cih

Yes!! Though I've never sampled the sandwiches... Jumbo is still great, Relics down the road has recently re-opened after being shut for a while

Looks good. Jumbo Records in Leeds is still going strong and is about the only shop I can be in without going into a trance. Great staff - friendly and knowledgeable, good music, and nextdoor to a cafe so I can coax the family into venturing in that direction. It has a fair amount of newly pressed jazz vinyl - all that 180 gram stuff - too expensive for me but it looks pretty in the window

sitting on steps

don't say that - I've been waiting for the Revolution

thanks all, for pointing this out it appears to be back in stock today (Amazon uk) (though the price seems to rise each time I look! - glad I ordered earlier on the off chance)

Of course there is more than one way, and entertainment is great - but it was, after all, Chick Corea who was using the broad brush – all. The fact remains that a glance through the derisive reviews of the majority of the major art exhibitions – those that mark the great changes of the last 150 years reveal that it is the audience lagging well behind and show that the artists involved are fighting a battle with them – the most well attended show of modernist works last century was the ‘Degenerate Art’ show in late thirties Germany. i know he's a musician, and not a painter - but it looks to me like music advances in a similar dialectical way - one movement rises up in reaction against the last from the inside - and away from the 'general' audience expectation, whether its punk or bebop That's all besides those individual iconoclasts or 'outsiders' If someone wants to adjust to the demands of the audience in order to uplift them, or entertain them, fair enough, but don't then conveniently define that as the sole locus for all feeling and depth and value at the expense of those who choose another way

I like Antonin Artaud's short essay "All Writing Is Pigshit": "People who leave the obscure and try to define whatever it is that goes on in their heads, are pigs." ...etc....

Even I've heard George Martin mention The Beatles...

The idea that the person at the receiving end of a piece of art or music is unpredictable can take the burden of its consideration away from its creator - the field holler languishing in the Library of Congress, the automatic drawing of the asylum inmate, the death mask of Tutankhamun... all projenitors of influence a long way from their intended audience (if there even was one) also there are many factors at work in creating - unconscious urges, sublimation, religious fervour etc - above and beyond communication. To suggest these are of lesser importance or less 'deep' is false

the societal or cultural value of it might be that it offers/forces a new conception - the culture/society might need to change

talking of crazy Europeans - Adolf Wölfli - I've never heard his music... but his pictures, now that's depth and feeling right there in his own kind of alienation. The real changes in art haven't come from the public galleries

black and white STRIIIIIIIPES

ok, that just demonstrates my lack of knowledge about fusion & Chick Corea but doesn't affect the general point - which I can't remember at the moment but I'll get back to you asap...

But you can still desperately want to communicate without tailoring what you do to the 'fit' of the crowd - Monk, Van Gogh... they knew they were saying something to people but the people didn't, until later "People are more important than art." can you separate the two? People don't know what they might like until someone creates it - or, if Chick Corea knows the 'kids' want fusion or whatever, he only knows this because somebody else has successfully served it to them cold, at some point

I think he means that the music should be created in sympathy with the expectations/tastes of the current 'audience' (paying public I guess...), rather than saying something like "if a tree falls in the woods..." (hey KING UBU - have you seen the new Jarry biography yet?.. if so, is it good?)

sounds back-to-front to me, the artist leads and the audience follows

Their Peetie Wheatstraw double CD was one of the first things I bought - in fact it was the only Wheatstraw that was available in the shops for a long time (until the internet made everything available)

sex sells

No mention on the sleeve of any 'influence' for this design from Pressure Sounds - naughty naughty

I didn’t mean that they intended the destruction of the achievements of their forebears, but that the destruction of the boundaries of the art is essential – both the narrow ideals of the highbrow, and the commercial necessities of the mainstream - which is presumably only possible by taking apart the art itself, losing the elements that people have hung their hats on. Also maybe the attitude that somebody outwardly expresses for what’s gone before might depend not only on how their work is directly descended (or not) from it, but also on whether a sense of kinship or brotherhood is important or needed at the time and place – which it was in the sixties… you rightly observe that I am more familiar with the likes of Dada, and I'm learning stuff here from you guys as a beginner, but when I listen to and read about Albert Ayler with ears more used to pre-war blues & Monk & co. I struggle to make a link* which doesn't include a hell of a lot of deconstruction so that I can hear the individual bricks much more clearly, rather than everything being 'invisible' within the whole - and I get the feeling he is seeking something essential which has been obscured, reaching back to the distant past too, away from his immediate education in R&B back to the spiritual – and the things which I would interpret as his ‘personal’ expression obviously included for him something else – from God… so when he said that Coltrane was not playing like him, but that they were both just playing what they both felt themselves – it was (to him) something coming from outside of themselves too which shapes not only the form of the music but physically how he attacks it (as with old gospel records) *no struggle in enjoying it though