A Lark Ascending

I'm speculating here, but... This one is on FMR, a label I'd assumed was legitimate. It certainly puts out a lot of both new and re-issued UK material. It has just put out Surman's 'Morning Glory'. However, according to a post on AAJ, Surman is unhappy about this and says there will be a proper release later in the year. I'm not sure where that puts FMR.

I thought McLaughlin was from near Doncaster (Kirk Sandall is part of Donny). A good 30-40 mins from Sheffield. A world in English regional accent differences. Both Martin Simpson and Martin Taylor come from Scunthorpe, not too far south-east of Doncaster. Maybe there's a South Yorks/North Lincs delta!

Oh, don't get me wrong, akanalog. I'm fascinated by these releases. The posters you refer to at AAJ are much more intense about this music than I am - there's a couple who seem to write about the music, do sleeve notes etc. So its quite understandable that they should be excited about these releases. For me the UK jazz of the 60s is music before my listening time so I'm more intrigued than champing at the bit. I'm actually more excited by the jazz currently being made in the UK. Just a matter of personal choice and the different degrees with which we respond to different things.

It's mid-Atlantic. Dave Holland speaks like that too. You sometimes catch the Brummie in him but the twang is more pronounced. It's interesting why some people mutate and others retain their accent (it happens within the UK too). Richard Thompson and Martin Simpson have lived in the States since the mid-80s (Though Simpson has now returned); both sound completely unaffected in their accents.

Some definitions of 'cool' from Google - I've left out the ones to do with temperature or meaning 'unfriendly': marked by calm self-control (especially in trying circumstances); unemotional; "play it cool"; "keep cool"; "stayed coolheaded in the crisis"; "the most nerveless winner in the history of the tournament" aplomb: great coolness and composure under strain; "keep your cool" lose intensity; "His enthusiasm cooled considerably" fashionable and attractive at the time; often skilled or socially adept; "he's a cool dude"; "that's cool"; "Mary's dress is really cool"; "it's not cool to arrive at a party too early" www.cogsci.princeton.edu/cgi-bin/webwn Cool is a complex aesthetic of motion and interval, of tension and tranquility, of juxtaposition and coexistence, that has its roots in various West African cultures. The cool aesthetic permeates traditional West African cultures and African-American culture, as well — in black artistic and musical expression, in the hitch in the "pimp" strut of urban black men, in dress, demeanor and speech. Over time, "cool" has been appropriated by American and world popular culture, generally, especial en.wikipedia.org/wiki/Cool_(aesthetic) the style of the early 50s, taken up by many white musicians and popular on college campuses. The basis was bebop, but the fastest tempos were not used and the sound was quiet and understated. Miles Davis was one of the main originators. www.humboldt1.com/~jazz/glossary.html This popular expression is used to describe something that is very good. Ex: “That band is cool!” www.uncp.edu/home/canada/work/allam/1914-/language/slang.htm A relaxed but emotionally detached mood www.outsideshore.com/school/music/almanac/html/glossary/ I know those definitions don't even began to cover nuances. It's that 'detached' manners, that I detect in some musicians for whom a 'cool' stage manner matters, that bothers me. I love musicians who go out of their way to engage with their audience; not just musically but personally. Those with a sense of being one of 'everyman' rather than those concerned to be one of "a select few" (to quote from post 42).

Thanks for the 'cool' response. Dude!

You mean Henry Winkler was intended to be a role model? I always thought he was meant to be sending up hipsterism. More cross-Atlantic signal distortion. For a role model I much preferred:

If I think of people like John Surman, John Taylor, Keith Tippett, Mike Westbrook, Stan Tracey I just don't see any 'attitude' at all. Tracey can be a bit grumpy but in general there's a politeness there, a respect for the audience, a lack of self-consciousness. 'Cool' and 'hip' seem to be about being very aware of how one cuts it in company, somehow keeping a step ahead. There's a narcissism about it. As I say, understandable in adolescents; ripe for ridicule in adults.

Not true. Dexter Gordon certainly comes across as a very warm personality, but his stage announcements and demeanor are the height of cool. Perhaps a definition of 'cool' is necessary. I've always assumed 'cool' excludes 'warmth'. If by 'cool' poise is meant - an ability to carry things off seemingly without effort or affectation - then I'm fine with it. But the term is frequently used to suggest being ahead of the game in finding the next big thing but moving on before it becomes the next big thing; or being able to access something that is beyond mere mortals. In that sense 'cool' is all about style, not substance. There might be a cross-Atlantic divide on this. Jazz 'cool' was mercilessly pilloried here in a comedy show ('The Fast Show') in the 90s. The best you'll get from UK musicians is ironic mockery of 'cool'. They'd be laughed off the stage for exhibiting any of the mannerisms associated with jazz 'cool'.

Give me 'warm' over 'cool' any day. Cool = detachment, playing to an insider code, exclusivity, elitism, affecting an 'in the know' stance. Understandable in children. Ridiculous in adults.

Bugger 'hip' or 'cool'. Give me a musician who is warm, friendly, approachable, humble towards their audience. A couple of weeks back I saw Enrico Rava's band play an exquisite set, shorn of any 'hip' or 'cool'; great playing accompanied by a willingness to connect with the audience between numbers. Worth a million affected 'cools'.

Mike Westbrook Stan Tracey Keith Tippett Harry Miller Barry Guy

I'm not sure seeking 'the best ever' is a fruitful approach to exploring UK reissues (or anything else for that matter). There's a vast swathe of recorded UK jazz that lies unissued and the diffuse nature of its ownership means it will come out in fits and starts. I'm not looking for the Holy Grail in these reissues. I am hoping for music that will please me, interest me, by musicians who I've come to enjoy through other recordings. Where it lies in someone's 'best ever' chart I leave to the music magazines!!!!

I'm eagerly awaiting these reissues...can't say I'm holding my breath for Haley's Comet.

Yes, there is meant to be a batch in the next few weeks. I've heard no specific news. Universal doesn't seem to bother advertising this on a website anywhere.

These are the releases promised: CDSML8400 Michael Garrick Sextet/The Heart is a Lotus CDSML8401 Terry Durham/Crystal Telephone CDSML8403 Henry Lowther Band/Child Song CDSML8404 Paul Gonsalves/Humming Bird CDSML8405 Chitinous Ensemble/Chitinous CDSML8406 Alan Skidmore Quintet/Once Upon a Time CDSML8407 Mike Westbrook/Mike Westbrook's Love Songs CDSML8409 The John Cameron Quartet/Off Centre CDSML8411 Michael Garrick Septet/Black Marigolds

The last 60 minutes of Gotterdammerung. Bugger! Someone misfiled 'Seven Brides for Seven Brothers' in the case.

I'd dearly like a book on the development of jazz in Italy. Not one of those heavy socio-cultural academic things; just a narrative of how it started, who the main musicians were over the years, where it seems to be today. It's quite hard piecing this together from the IJM site, CD sleeves, the occasional English language article. I'm sure this exists in Italy...well, Italian jazz is fascinating enough to deserve an English language book. In fact, thinking about it, there's room for a few books on jazz in individual European countries.

I can get in here: http://www.naxos.com/mainsite/default.asp

There's alot of clarinet in jazz in Europe at present. I saw Fredrik Lungkvist play some wonderful clarinet with Atomic last weekend (Ken Vandermark too). Louis Sclavis, Gianluigi Trovesi, Gabrielle Mirabassi and Sebastien Texier all play beautiful clarinet (and we musn't forget long timer, Tony Coe). Perhaps it has something to do with the way much jazz in Europe today avoids the neo-bop approach; could the folk base of some jazz in Europe be more conducive to the clarinet? Just speculating. I'm pleased to hear it more and more. It makes a very nice contrast to the usual saxes. Love the bass clarinet too.

I didn't even see it! However, I'm not a vinyl chaser so I'd probably have passed by. I'm always disappointed by the CD stalls at Cheltenham. Their stock seems so random (apart from the festival artists). Sorry, I meant to mention to you last week so we could at least nod to one another. Last week was mad and it escaped me. Perhaps at Bath.

I was at Cheltenham too - sidewinder says it all. A great concert. It was also great to see the audience reaction - a sold out hall who treated him like a returning hero from the moment he walked onto the stage. Quite tear-provoking.

Go here - JazzCDs : http://www.jazzcds.co.uk/store/commerce.cg...id=3843214.3085 Very reliable source.

It was shown on UK TV back in December (I think). Well worth watching. Jarrett comes across as far more engaging than printed interviews have often suggested. Maybe they just select the arrogant bits of interviews to print!

In which case it might be advisable to move this thread to the politics forum, given what happens to religion threads!