Rabshakeh

We see what you did there. I don't own this one. It's the last Hemphill that has eluded me.

Dick Hyman and Roger Kellaway - Live at Michael's Pub This one is great. Thanks to @HutchFanwho I think recommended it. Such an exciting and fresh sound.

Al Hirt – Swingin' Dixie! (At Dan's Pier 600 In New Orleans) This one is just a tad on the maximalist side. Like a Dixieland Maynard Ferguson. Quite fun schlocky stuff, I guess. Just as long as noone hears you listening to it.

Kid Thomas - George Lewis Ragtime Stompers – Kid Thomas - George Lewis Ragtime Stompers This one is pretty great.

I was completely obsessed with Abe as a young man. Very useful, but flawed. It is very much a narrative of how the part of the scene of he was involved was built, so the focus is quite narrow. I had two main issues with the book. First, that the translation is quite direct, which makes many of the descriptions of people and music sound quite samey: the inferences and ironies that are presumably in the original are missing. Second, the scene was obviously very insular and clannish, and marked out by 70s student maoist / nationalist views that are a bit exhausting to read about, and hard to sympathise with.

NRD – Sport I Religia (Not Two, 1997)

How is it? I feel like I am hearing less and less about him.

The best beginner's guide I have so far located has been this one: https://syncopatedtimes.com/texas-shout-8-guide-to-classic-dixieland/ From the 1990s and from a bandleader who is obviously quite embedded in and committed to the San Francisco revivalist circuit. Not much there that a dedicated searcher would not know, but I have not found anything that goes into more depth than this out there. A complete contrast to 'spiritual jazz' or Blue Note or whatever, where there are thousands of lists and dedicated blogs.

I had mixed views on this one. I thought that it succeeded on around half the tracks, but there are quite a lot of sections where I felt the soloists missed a piano.

This one is excellent.

Shel Silverstein And The Red Onions – Hairy Jazz This one is pretty great.

New Air Featuring Cassandra Wilson – Air Show No.1 (Black Saint, 1987)

The New Black Eagle Jazz Band – The New Black Eagle Jazz Band (GHB, 1972) Actually enjoying this one.

Thanks!

Seems like a positive. From the limited stuff I have explored, I have enjoyed the Yerba Buenas the least. Very interested in hearing more about the French and Australian scenes, then and now.

Blind Connie Williams – Philadelphia Street Singer (Traditional Blues, Spirituals And Folksongs)

Classic. "Well, I'm going to pay you a tenner".

AMM – The Crypt - 12th June 1968

You can taste test on Bandcamp, if that swings it. I quite enjoyed it. I love the source material and have for years. I thought the more piano, the stronger it is. Some of Moran's performances are really special. The sections with a larger band are a mix. Some parts are very strong and lusty, others feel a little more academic.

Now, but this is the really real stuff. This is great! Graeme Bell is known to me as a name but not the others. Where would you start with each of these artists, record-wise?

Fantastic! Thank you.

Particularly weird given that the same movement had at some points close links to civil rights groups. Clearly that was part of the appeal though, for whatever reason. Along with the stripey blazers. Hodes and Hyman I know fairly well, but what record or records would you start with for the others? It's just interesting how much of this stuff there was, and how important it was (in the sense of sales as well as the number of listeners, critics and players invested in it, and just how much of "Jazz" it represented in cultural terms). It has now just gone. It is not just that interest has waned (as with swing and many other non-jazz genres), but it has been almost completely forgotten and then dropped from histories, where it appears only as a competing movement to bebop. Strange to think about. Almost as strange as the idea that classic jazz revival could once have been a chart topping trend.

I thought that there was a big swell of interest. Certainly the spread of fans in the 60s and 70s looks pretty wide - wider than if it was just drawn from 1950s band kids - from the Muppets writers, to Robert Crumb, to half of Disney, to Woody Allen. I second the view of being completely bewildered by how such a large number of college students could become so absorbed in traditional jazz. It seems such a random choice. Also, why were they so drawn to the look? The blues and folk revival types dressed like other music fans. Why did the jazz revival guys love the hats so much? It's not a mystery that listening to this music is getting closer to resolving, either.

Bob Scobey's Frisco Jazz Band With Clancy Hayes – Swingin' On The Golden Gate (RCA, 1957) Still continuing a recent push to learn a little bit about revivalist traditional jazz. Still finding that for every record that I really enjoy there are two records that make me re-evaluate my life choices. Still, these Bob Wilbur records aren't going to listen to themselves. Edit: I should add that it is really hard to find out about this music. There's no recommended lists out there on the internet, and noone is on Instagram posting LP covers for clout. To the extent that it does exist in jazz histories, it seems to be as a brief reference as an historical antagonist to bebop. You'd never know that for decades it was so popular. Possibly that reflects the fact that 90% of the genre is arid revivalism that no sensible human would want to know about, but still.

It seems to be back in print again. Lots of copies available in London, having been difficult to find for a while.