Rabshakeh

This seems to mention that the Manne tracks used to be separate. What were the Art Pepper tracks on?

Jim Hall really did look younger as he aged.

The idea that there is another 400 unreleased hours of Wynton Marsalis making trumpet sounds then saying “that’s America” makes me salivate.

Did the additional interviews and footage ever get released? Also, is that Joe Goldberg crit still available? I've tried google but can't find it. edit: Typos amended

Art Pepper / Shelly Manne – Pepper Manne Does anyone know the story behind this one? I had assumed it was a Shelly Manne does Afro-Cuban record. Is it just a half and half or are these reissues? There seems to be very little info out there.

Joe McPhee Featuring John Snyder and Makaya Ntshoko – The Willisau Concert Ken Nordine Featuring The Fred Katz Group – Word Jazz I guess that this was something of a model for Tom Waits.

Oscar "Papa" Celestin – 1950s Radio Broadcasts

Don Pullen – Plays Monk

Bill Dixon -Papyrus Volume II

Jason Moran – From The Dancehall To The Battlefield Re-visiting this one to see if feelings have changed. They haven't really. I am still split on it, roughly 50/50. The opening "Now, listen to teacher" introduction still grates very badly for me, and the first LP has what seems to me to be a few rather lifeless or overly academic readings of classics. They remind me a bit of the Jazz At The Lincoln Center big band records. I think that the version of "Darktown Strutter's Ball" at track 5 is one of the worst offenders, particularly the gimmick of the pre-war hokum stick percussion. Then the second LP seems to me to brighten up. By the final side I really enjoy it. The iterations of the group that have been put on the second LP seem to swing more, and play with a bit more juice. It seems alive. I also really enjoy Moran's own compositions on the record, including on the first LP. I might have preferred it if the first LP was just him playing between JRE's and Co's compositions and his own, as he does on "Bailin' The Jack", the second track. Presumably it wasn't recorded in order, so hard to tell why there is such a stark divide. I'm streaming, so don't know whether there is any particular logic to the sequencing. Maybe I just enjoyed the record more the further I got from that opening monologue. I am still of the view that it overall amounts to a Major Work, whether I like it all the way through or not. I would not be surprised if it is well remembered and becomes regarded as one of the more important jazz records of the early 2020s. Edit: I should add as context that pre-war American 'roots' music is the music that I have probably listened to most in my life, and my reaction to the record may reflect personal anxiety. I spent enough of my university years giving glazed-eyed spittle-flecked lectures about how listening to the Mississippi Sheiks holds the key to understanding the birth of rock music to bewildered peers who had been hoping to just get stoned and listen to Pink Floyd, to have some residual anxiety about this stuff. Post script to Edit: I was probably wrong about the Mississippi Sheiks. Don't skip track one of Wish You Were Here. It's the best bit.

Really looking forward to listening to this one: Jason Adasiewicz - Roscoe Village: The Music Of Roscoe Mitchell There's a lot of jazz musicians being styled as "composers" these days, but very few who I think deserve the name as much as Mitchell (with apologies to two other more prolific and well known "composers" from the early AACM). Adasiewicz is a great player, and Mitchell's writing for percussion is particularly strong, so very exciting news. I would really love to see more of these.

I enjoyed that. A lot of it touched on already here, but nice to read something so in depth. Was it conducted by email?

BYG style free jazz seems like quite an unexpected style to be widely available, particularly in a world where basic Blue Notes were not.

Dave Koz – Saxophonic

Alan Silva, The Celestial Communications Orchestra – The Shout: Portrait For A Small Woman

I know he's thriving (and long may he continue as he is doing) and that people here love him. I was spinning a Houston Person record myself yesterday, so I am one of them. But I had not realised that he received a big marketing push. My assumption had been that he had been a mid level Prestige roster member in the 60s, and then was rediscovered as an elder statesman in the 80s/90s. I hadn't realised that he got a label boost in the 1970s. Regarding Richie Cole, it makes more sense. His records are all over the bins. I remember a recent trip to Minneapolis where it sometimes seemed, from the second hand shops, like the only records jazz fans had bought had been Phil Woods, Richie Cole and Spyro Gyra. Even over here in London you can pick them up easily. There had to be a reason why he's everywhere. I like Richie Cole more than the others on this forum, probably because I was not there to witness it at the time. The saxophone playing is obviously réchauffé, but he had that wider concept of mixing it up with the vocalese and a fair bit of humour. I think the Madness records have aged into interesting forgotten curios. Nothing I'd list in my top 50, but I think that he's an interesting part of 1970s jazz (less so 1980s). Anyway, interesting on Bowie. As a general question, how visible to the average jazz fan was that Paris 1969-1971 period when the BYGs and America records were recorded? Did those records make it over at all? If not the records, the critical reputations? Or did it come with and based on what got reissued by Arista? I am a child of the 1990s CD reissue and early 2000s blog eras, and it is hard for me to imagine how e.g. Anthony Braxton's or Archie Shepp's or even the Art Ensemble's careers would have looked without that period.

Thanks! (Also didn't know that Richie Cole and Houston Person were getting those boosts - not named that are particularly widely known nowadays...)

That's interesting. So New Directions and Nice Guys? That would put it around '79-'80, which seems to reflect how it looked to me retrospectively. So were the earlier AEC records and his Muse records known more within the limits of avant garde fans?

Zeena Parkins – Ursa's Door

A question for those who were there. Lester Bowie seems to have received a lot of name recognition for an avant garde trumpeter. At what point or points did he begin to receive that wider recognition?

I promise that I haven't broken into your house.

Oh no.

The Lat-Teens – Buena Gente