Guy Berger

Listen to the music on Spotify or another music sharing service - that way NimbusWest gets at least some of the money. NimbusWest should consider asking people to “donate” money for releases they’ve purchased….

What mjzee said. Wayne’s playing with WR in concert was generally more robust than that on the post-1972 studio albums, at least on the 1973-75 concerts I’ve listened to. We’ve talked a lot about Wayne’s solo albums, his work w/Blakey and Miles, WR - I want to call out his work on McCoy Tyner’s albums Expansions and Extensions. “Message from the Nile” has one of the greatest soprano saxophone solos I have ever heard.

Finally got around to listening to A Night in Copenhagen. Good stuff. Lloyd’s playing was really strong in the 1980s and early/mid 1990s - assertive, less noodly

The guy that comes to mind when listening to Lewis in this context is David Murray - though “cerebral technique” is a bigger part of Lewis’s style than Murray.

He plays on Henry Threadgill’s Double Up Plays Double Up Plus

I caught James Brandon Lewis’s trio at SFJazz (it was an event in the Noise Pop Festival). He was backed by an electric bassist and drummer who had a strong punk (and occasionally funk) vibe. Great music though very loud!

Just discovered Sankt Gerold. Damn - this is really good stuff

That’s a real Scarsdale Surprise

I’m having trouble copy-pasting from Instagram, but apparently this spring they are releasing an album of new music from Henry titled “The Other One”. It’s written for a 12 piece ensemble and dedicated to Milford Graves. additionally, in May, an autobiography titled “Easily Slip into Another World” will be published! Link

Another example of why the Chambers bio is bad

Imho Lloyd in his stronger moments is a more interesting instrumentalist than Mann.

Haven’t seen “Hat and Beard” mentioned! Sacrilege Honestly there are so many good ones “Back at the Chicken Shack”, “Cool Struttin’ “, “Zoltan”, “Message from the Nile”, “Passion Dance”, “Inner Urge”, “Idle Moments”…

Discovered this recently and am really enjoying it. Not for people who love subtlety in their free jazz.

I’ve been enjoying this. Not a classic by any means but I’d rank it above Motian’s Garden of Eden or Time and Time Again. Stylistically in the same ballpark.

RIP. I love Blow by Blow and his work with the Yardbirds. (Though I am pretty indifferent to the Yardbirds aside from his playing.) on the minus side, he helped vault Rod Stewart to stardom 🤢

100%

Some more I’ve been listened to: Lightcap, Epicenter 5/5: amazing album, maybe the best I’ve heard from this label Steve Lehman, Manifold: 3/5 some good music on here but wasn’t passionate about it. Will revisit. Jonas Kullhammar, Basement Sessions Vol 2 4/5: solid, relatively straight ahead saxophone trio

I’ve gone through phases when I’ve been more/less interested in newly released music. More broadly it’s not surprising to me there’s a larger fanbase for pre 1970 jazz (of any style), it’s normal for any mature music

There are two separate ~45 minute recordings of Miles and the Lost Quintet from the Blue Coronet, probably from late June 1969. The music is outstanding and is noteworthy for one of the earliest recordings of “Miles Runs the Voodoo Down”. Most of the repertoire is from the 1965-68 quintet. The performances are free wheeling, but not as radical as the October/November ones from Europe.

Like others my assessment of this has improved since I first heard it, but only from “lame” to “ok”, ie I’ve gotten over the disappointment of expectations set up by the lineup and can enjoy the music but don’t find it compelling. I like the Ray Charles tune! IMHO despite a similarity in “mood” it falls far short of Idle Moments

The ECM archival release When Will the Blues Leave (w/Peacock and Motian) is really excellent - highly recommended.

I’ve been listening to The Call and man… Lloyd’s playing on these 1990s ECM and Atlantic albums is probably the best of his career. Very little of the shakiness that soft noodling shows up in the later 1960s stuff or sometimes in the past 2 decades

This is indeed a great track. But it isn’t an extended, focused improvisation by a single soloist, unlike “Blue 7”

Yes these are really good. And the two albums w/Cannonball. That’s funny, I think he sounds less like Trane in these early recordings than from the 1980s onward - the influences of Sonny Rollins and Ornette Coleman were much more obvious early on

Probably won’t be picking it up any time soon, but did listen to it on Spotify and enjoyed it for what it was. The live concert is easily the best part of the set.