AndreyHenkin

Of the numerous times I saw Brötzmann play, once he got a saxophone key tangled with his suit jacket's button. Rather than stop playing he gesticulated wildly and ripped the button right off the jacket, not missing a "beat".

What is the source of the discographical information?

Carter is almost six months older, which is why I didn't include him.

I think you may be misreading the article? It seems like a current interview, not an obituary?

His biography is a treat.

Depending on how you define major: Marshall Allen b. 1924 Terry Gibbs b. 1924 Dick Hyman b. 1927 Toshiko Akiyoshi b. 1929 Dizzy Reece b. 1931 Kenny Burrell b. 1931 Sadao Watanabe b. 1933 John Handy b. 1933 Houston Person b. 1934 George Coleman b. 1935 Ran Blake b. 1935 Cecil McBee b. 1935 Julian Priester b. 1935 Manfred Schoof b. 1936 Kirk Lightsey b. 1937

Thanks to everyone for the links, references and analyses. Very helpful. Too bad Tom Johnson died in 2025; he would have been a great source.

Does anyone any idea when this was first used in print to describe that circle of players and small DIY venues? Now it is ubiquitous but some journalist must have used it first. References to downtown jazz can be found in DownBeat as early as 1962 but that is strictly geographical discussing clubs rather than an aesthetic description.

A scan of the Laubich-Spencer discography is available at: https://archive.org/details/arttatumguidetoh0000laub

pianist John Mehegan

Absolutely. Like it or not, the Windham Hill catalogue is worth discussing. And since so many jazz histories would ignore free jazz or European jazz or soul-jazz or electronics-driven jazz, why add to the problem? If you were teaching a class on heavy metal—which I do—you cannot ignore nu-metal even if it is as commercially-driven as smooth jazz.

You are included in the book a couple of times, quoting interviews you did.

Unfortunately they are not publicly available.

I think they are all on their recent CD reissues.

One amazing source is the log books of Rudy Van Gelder, who was as fastidious with information as he was with sound. Every session is documented and has been a great research tool for me. ECM albums rarely were made in a day, which is why they tend to list month and year. That said, when a single session date was in effect, they rarely included that. One example that comes immediately to mind is Arild Andersen's A Molde Concert, which just says August 1981 but took place on August 4th according to the Molde Jazz Festival people I contacted. One early label that was great about including recording dates was Argo.