I would love to see that article if you ever come across it, sidewinder.
Yes. Good point. It seems like there has been a seismic shift in attitudes towards 70s jazz over the last decade or two. Not just in the U.S. but everywhere.
It's good that musicians who were ignored back in the day are -- in some cases -- finally being recognized. Of course, many of them have already passed. But their legacies remain out there & available to us in the form of records.
Interesting.
As an outsider looking in -- and, given my age, someone who didn't even begin listening to jazz until the mid-80s -- it seems like the Rendell-Carr Quintet (both before Garrick joined as well as after) had a higher profile than Garrick's work as a leader.
After the breakup of R-CQ, it seems like Carr continued to make a bigger splash than Garrick.
Do you gents think those perceptions are correct?
I definitely was aware of Carr and knew about his music long before I knew anything about Garrick. Albums like Belladonna and Elastic Rock as well as his authoring a book about Miles probably contributed to that.
It's odd what catches the public's fancy and what goes unnoticed. Since he's not well-known in the U.S., I was very late to the party with Garrick. But now I consider him to be one of the most interesting jazzmen of the 1970s. The way that he put his very English stamp on jazz was unique and wonderful.
I'm very grateful that Michael Dutton reissued Troppo -- and Garrick's other Argo releases -- on CD on his Vocalion label. All of those Argo albums are amazing -- especially the ones with Winstone.