Rabshakeh

I'm currently in Minneapolis, keeping myself amused by going record shopping and then wandering around the areas afterwards (fail-safe technique: areas of cities with record shops are always the best for strolling around). I'm always interested in how different the second hand record stock is in different cities, even within the same country or region. Generally, I think that what is widely available in a second hand shop essentially represents what was popular in the area 10-30 years ago, or so. In contrast to my home base of London, Minneapolis second hand racks are noticeably full of the lighter end of 1970s fusion (Spyrogyra) and CTI stuff (which are a lot cheaper than London, maybe because of the lack of a Giles Peterson effect). Phil Woods and Richie Cole were obviously huge here at one time, because they have huge sections. There's almost no cool jazz; barely anything on Prestige or the 70s bop labels, which show up all the time in London; and next to nothing avantgarde (jazzwise; lots of avantgarde rock and punk for some reason). My last trip to a major city was to Chicago pre-pandemic. Despite being in the same country, and close to Minneapolis, in geographic terms, it was a different world. Gene Ammons was everywhere on the second hand racks, and there was a lot of the more avant garde stuff. That's pretty understandable, given that Chicago is home to both. Soul and blues sections were both large and quite Chicago-specific. I'd be interested in other people's thoughts about record shopping and the differences in cities’ music tastes, and what other members have observed.

Lalo Schifrin – The Dissection And Reconstruction Of Music From The Past As Performed By The Inmates Of Lalo Schifrin's Demented Ensemble As A Tribute To The Memory Of The Marquis De Sade (Verve, 1966)

The Kahil El'Zabar Quartet – A Time For Healing (SpiritMuse, 2022)

Peter Brötzmann Group – Alarm (FMP, 1983)

I only own one box set: the CD reissue of Harry Smith’s Anthology. Otherwise I really struggle with the concept. I find it inspiring to hear how people love different disks of this or that Mosaic, but I just don’t think I could so them justice. As I’ve mentioned elsewhere, I’m generally a one or two LPs per artist guy.

I didn’t know that they played together. Are there any records?

I've got the first of those. They still go for quite cheap. About half what Braxton solo stuff goes for. It really captures the period.

Sunny Murray, Odean Pope, Wayne Dockery – 13# Steps On Glass (Enja, 1995) Pretty underwhelming stuff. That's interesting. I always found my British version very muddy.

The RH Factor – Hard Groove (Verve, 2003)

What's this? Is it good?

Ornette Coleman ‎– Tomorrow Is The Question! (Contemporary, 1959)

Wishing you all the best with it on Saturday.

Duke Ellington and Ray Brown ‎– This One's For Blanton (Pablo, 1975)

Today’s FJC post mentions various McPhee / Lazro collaborations. As a duo on - "Elan, Impulse" (In Situ, 1991) with Evan Parker on "Joe McPhee, Evan Parker, Daunik Lazro" (Vand'Oeuvre, 1996) Raymond Boni, Joe McPhee, Daunik Lazro, Claude Tchamitchian - "Next To You" (Emouvance - 2013) as a duo on "The Cerkno Concert" (Klopotec, 2016) Evan Parker, Daunik Lazro & Joe McPhee - "Seven Pieces - Live at Willisau 1995" (Clean Feed, 2016) in the Clifford Thornton Memorial Quartet - "Sweet Oranges" (Not Two, 2018) A pride of lions - No questions no answers (RogueArt, 2022) Does anyone know / recommend any of these records?

Al Di Meola, eh? I didn't see that coming.

I was pretty addicted for a long time. Pre-30s US folk music was my main thing in my 20s.

Apparently Old Hat. It has a strong Yazoo vibe though. I think the Yazoo one is the Robert Crumb one.

I'm a big fan of this comp.

Any recommendations?

Oluyemi Thomas - Sirone - Michael Wimberly – Beneath Tones Floor (NoBusiness, 2010) Enjoying this one a lot. I know that some people on this forum aren't sure about Oluyemi Thomas, but I definitely like him here. Sirone has a great (and final) session too.

Nigel Coombes And Steve Beresford – White String's Attached (Bead, 1980)

The title is self explanatory, I think. 1980s fusion is, to my ears, a hellpit of dry sounding production and excessive guitar widdling. What are some examples of fusion from the 1980s that either doesn't have guitar or doesn't focus on it? Bill Bruford's Earthworks is one example that jumps to mind. A record that I actually enjoy.

I was listening to this the other day. Great chemistry.

Nothing anyone here doesn't know, but nice to see. https://sunra.substack.com/p/nessa-records?utm_medium=email&utm_campaign=cta&s=r

There's a good one on Nessa in today's.