A Lark Ascending

Leaving aside the one person's bad composer is another person's genius argument... I'm happy to see a lot of music put out and be left with the responsibility of deciding for myself what I do and do not value; far better than having a much sharper winnowing system that is as likely to exclude much that is excellent alongside much that is of doubtful value. We may wonder why certain music ever got to the recording studio, let alone release; but its more disturbing to think of the wonders that never made it in more frugal times.

I can't see it as a problem, unless you're afraid you'll miss something significant. I have a batch of musicians whose music I've come to know and so will try to follow up on their releases; other things I buy as a result of a concert or radio performance; sometimes I like the sound of something from a review in a magazine or something I read in a book. Despite spending way too much on recordings I'm sure I only scrape the surface of what is available. But I'm more than happy with the current deluge that keeps me awash in a warm bath of wonderful music. I'm sure it must be very hard for anyone approaching music from an academic standpoint, trying to make sense of it all. But, perhaps, in the same way that jazz itself has fragmented stylistically over the years, I suspect the jazz marketplace has also fragmented. The greater ease of recording and putting out CDs has enabled whole areas of the music that would have found it impossible to get a deal actually being able to promote itself. Much of my jazz buying is of British bands on tiny labels or self-produced recordings acquired as a result of concert going. I'm very grateful this music is getting released so I can enjoy it beyond a single concert appearance. The days when there were a limited number of recordings available (on a few big labels and a few smaller, specialist labels) might have made it easier to construct some sort of narrative of what seemed to be happening overall. But I'm more than happy with the massive current output that thrives on a more dispersed and often localised jazz world.

I'm not that up on organ records. I like this one: Would that fit the oft used definition on this board 'greasy'?

The similarity I mention is merely between 'Open to Love' and 'Facing You'. Maybe its just because the solo tunes on the latter are short!!!!

If you like 'Facing You' you'll definately enjoy 'Open to Love'.

I'm not sure if you know Paul Bley's music very much; if not try 'Open to Love' on ECM. It inhabits a very similar sound world to 'Facing You'. One of my favourite CDs. From there you have another pianist with a vast catalogue to explore. Currently one of my favourite musicians. This 2004 album makes an interesting contrast with current Jarrett: I'm not trying to say A is better than B here; merely that Bley shares similarities with Jarrett in some places; elsewhere he goes in a very different dirrection.

If we're including harpsichord then the De Falla Harsichord Concerto must be mentioned. One of my favourite neo-classical pieces alongside things like the Stavinsky Violin Concerto. Spikey, colourful, melodic. Thinking of De Falla, "Nights in the Gardens of Spain". Again, not a piano concerto by name or form but a piano and orchestra composition on the same sort of scale. And quite gorgeous. Recommended to anyone who was smitten by the Maria Schneider disc this year!

Seek 'Phantasm'...and then the rest of Frank Bridge.

Bev, didn't you know that jazz fans aren't supposed to know so much about SERIOUS classical music??? I 'know' precious little about it. But I enjoy it. Anyway, I'm a music fan, not a jazz fan! One of those smiley faces! Incidentally, Herbie Hancock recorded the dreamy slow movement from the Concerto in G on his Gershwin album. It's once of those classical pieces that tried to incorporate jazz elements; though this is more obvious in the outer movements.

Peter King Gianluigi Trovesi Elton Dean Jason Yarde Mike Osborne and a guy who is probably too new to be overlooked yet... Soweto Kinch

I prefer the equal balance of instruments in a symphony to the soloist and orchestra nature of concertos. However, there are plenty I enjoy. * The Three Bartok Concertos are my favourite. * Ravel's two Concertos are gorgeous. * The two Shostakovitch are nice too. Some interesting, but lesser known British concertos: * Two by Alan Rawsthorne * John Ireland's lovely concerto. * Frank Bridge's 'Phantasm' * EJ Moeran's Three Rhapsodies (not strictly concertos but...)

These are my two favourite solo Jarretts: I'd urge you to hear the 'American Quartet' from the 70s. A great single disc is: But these two boxes of the Impulse recordings are outstanding: And this one with the European Quartet is gorgeous:

Have a look here: http://www.shef.ac.uk/misc/rec/ps/efi/mwatts.html Very freeish as I remember. From the same stable as the SME.

I love 'Homecoming'. 'In the Moment' is more vague but I like it. I've never actually heard the first two. Keep seeing them an nearly buying them...

The Village Vanguard, Worksop. Monks had a regular gig here in the Middle Ages, before Henry VIII confiscated their cabaret card.

A wonderful programme that introduced me to so much jazz...why I first heard Kind of Blue (well, 'Blue in Green') there in 1977. I love its sheer range. And Peter Clayton was one of the great broadcasters. His Sunday night programme in the 70s was another great educator for me.

That's not right. No fighting in the taxi rank outside the Tut'n'Shive. Damn! Rumbled by someone who clearly has been to Worksop (and, more to the point, left again!).

I hope Naxos get round to completing the Piston and Harris Symphony cycles. Nice to see Frank Bridge getting a mention here. An outstanding composer, very little known outside of the world of British music obsesssives. Richard Hickox is doing a splendid cycle on Chandos at present (up to disc 5 so far). Full price but highly recommended. 'Oration' and 'Enter Spring' should be much better known than they are.

This picture was sketched the other day. Can't you see the excitement on Worksopians faces as rumours sweep across town that the new Buddy Bolden cylinder is about to go on sale? I'll leave you to imagine the joy that can be heard through each window as player pianos go into overdrive.

Worksop

We're still the wrong side of midnight here in the UK! Probably a result of some secret deal between TB and GW! Merry Xmas all too!

It's a very enjoyable disc...though I still think Nguyen Le's best is his 'Tales from Vietnam', an exquisite mix of jazz with Vietnamese folk music.

Teddy Wilson reaches me too. I'm only a dabbler in pre-1945 jazz but I've loved Wilson since hearing him on those Billie Holiday recordings of the 30s. I have many of the Classics Wilson discs, initially purchased to get the Holiday sides; in the event the Non-H tracks bring just as much joy.

Oh, I accept totally that the loss is all mine. I have a general block when it comes to synths. Something jars. A perfectly legitimate option and one I can see must bring pleasure to lots of other listeners.

In 1955 everyone could whistle 'Surrey with the Fringe on Top' and lots of other show tunes. They was popular music in the true sense, heard across the age and class range. Maybe that gave listeners something to latch onto. Can the same be said of Radiohead or Bjork? I'd say their reach is much narrower (a comment on the splintered nature of broadcasting today rather than the relative quality or attractiveness of the music). Perhaps our Douglas', Bad Plus' and Mehldau's need to be recording Kylie, Brittany to have a similar effect, rather than the hipper rock acts? Or maybe the latest West End/Broadway musicals? Isn't the Phantom of the Opera about to become a box office breaking film? Brad plays Lloyd-Webber! Dave plays Moulin Rouge! Bad Plus play Chicago! I can hardly wait.