robertoart

Thanks. I'll do some listening. The Thing have been around for a long time if I remember. It was hard to find some of those earlier projects over here in the days before the net connected people up. I used to get copies of Wire magazine and literally make International phone calls to 'record shops' or distributers in those days, hoping I could track down some of the recordings of the Artists I liked or read about. I rang Moers once and got an answering machine in German, left a message, but they didn't get back to me

Kenny speaks! http://www.youtube.com/watch?v=WT95IxecQY4

He obviously felt the need to emphasize his points I thought these things were meant to be smart phones

Insightful as always

It's double posted again fasstrack

What about his violin?

Got some Craig Taborn with James Carter, which I don't get into much actually. Got some sessions with Ed Schuller. It's always possible to check out the musicians you so breathlessly enthuse for though. Did you run home from the gig to post this ? And what do you mean by 'is made purely for the music's sake'? What other sakes are in play when this is not the case? And of course the experience of the music occurs when there is anyone there or not. I'm sure most musicians would attest to some of the most rewarding experiences as being in the communion of other players in private settings...so sure if Anthony Braxton is in the forest, it's still music. We can even listen to his solo saxophone recordings and add some wolf calls (or in my case Dingo barks) to create a kind of mis en scene. But yeah, I would be dishonest if I didn't say I was a teency bit jealous of you being there in the Big Apple and having all this history being made right in front of you. Give us all some Youtube links maybe, if that doesn't corrupt the integrity of your 'live' communion

The first McLaughlin I had (apart from the funny one with 'Devadip"), was My Goals Beyond and Extrapolation, a pretty great place to start. The first release I was able to catch up to 'in real time' was Mahavishnu in 1984. I was so pissed off with that album, I think I have resented him ever since Still have no idea about the answer to the question though.

Woof.

Not Fusion? Can't they stamp that out before it grows?

Yeah, different world today. Hopefully no more assholes will try rewriting the old one in their own image. Anyway what's wrong with Kenny Burrell? Surely these emerging giants you push must have some Kenny in their collections somewhere? Maybe he even taught some of them.

Good stuff.

Wouldn't bebop be an obvious exception to this rule? It came from back musicians, but not really from the ghetto, and never had too much popularity there. I don't think that's true. If you look at the material played by soul jazz musicians in the sixties and early seventies - whose work was primarily aimed at the ghetto - you find a load of bebop tunes being played as part of a general 'menu' of entertainment alongside soul songs, blues, swing numbers and general pop songs. And don't forget that Diz and Bird and other beboppers got singles onto the R&B charts in the forties. MG Sure, a lot of musicians who played soul jazz in the sixties and early seventies were fluent in bop, and brought those sensibilites to the music. But if you look at bebop in the 40s and 50s, the audience and fans were predominantly middle class and above. The sound of the ghetto was R&B / blues. Of course, the Central Avenue scene in L.A, where bop and R&B were almost bedfellows, may have been somewhat of an exception. . On the other hand, I know what you are saying, and actually agree with it to a large degree. Even if bebop was "high brow," it still embodied the sound of the street and got a lot of its power from that source. The audiences may have been considerably middle class and White and above, but the musicians that made it weren't. They were the intellectual extension of Black community music. And by the way MG, Hip Hop and Rap culture was well entrenched as the creative voice of the Black Community music a decade or more before 1994. But had gained traction as a White mainstream entertainment by then. Jamaaladeen Tacuma was incorporating it into Harmolodics by 1984. Warhol and Basquiat were a tag team by then as well. And don't anyone counteract with that pathetic (Basquiat was a middle class son from a rich neighbourhood shit). a la Max Roach, Miles Davis etc. al.

No; there'll always be neo-jazz. MG So what is the cutoff year for "real jazz" then? If all new musicians play "neo-jazz" then that means at some point the original version ceased to exist and has been replaced by a facsimile. What year did that happen out of curiosity? Shawn. I think the cut-off point is the release date of the Song X collaboration between Ornette and Pat Metheny MG may have other ideas however?

One thing to say about 1973. There were some fantastic album covers! This thread is a great read just to see some them.

No; there'll always be neo-jazz. MG

You guys are all Chicken Little's. There is a/or several Jazz Music Dept.(s), in virtually every city, in every country, in Christendom. Turning out scrupulously trained musicians. As long as that keeps happening (and it will), there will always be Jazz.

Yeah, well don't tell that to jsngry, he seems to be in a disagreeable mood. I think his lunch is repeating.

Mclaughlin's sound is so processed that anything is possible, really.

They'll come out of the woodwork soon enough...hopefully. Say something critical

Someone whose mother was a Little Feet fan perhaps?

Nah. it's funny. Yeah, "I'm Going Home" on "Recorded Live" is a killer track . Almost my #1 reason for going for that album, though the rest ain't bad at all either. But considering tha musical context of that period of the 70s, this tune showed that some still could do some straight ahead kick-ass stuff that really MOVES. RIP. Someone gave me a copy of that back in the day, I always remember those little 1 minute 'interludes' on that album. One of them was like a jazz chord melody vignette. I thought it was cool.