Rabshakeh

Sounds like he had gotten himself together at that point. I think (on the basis of memoirs and books like Notes & Tones) that the period 1965-1972 must have been an awful time to be a bop-based jazz musician. Collapsing audiences and sales; collapsing interest/cultural capital; no respect from the wider world.

Yes. Boyd is an American who discovered / produced lots of major British bands in the 1960s, including Pink Floyd, the Incredible String Band, Fairport Convention and Nick Drake. It's mostly about his time as a folk rock A&R/producer in London, but he actually started in the jazz scene, running tours in Europe for George Wein, so a surprisingly large amount of it is jazz (probably up to 1/5). He is very respectful of jazz and clearly sees it as being on a higher level than the music he was involved in (save perhaps for Nick Drake). Most of the jazz stories are about having to coax 60 year old swing veterans out of bars where they'd been having "breakfast" in time to catch early trains, but there's also recollections of everyone from Coleman Hawkins (I think) to Albert Ayler. One of the anecdotes is about Freddie Hubbard turning up late, falling down drunk and very angry to a gig in Europe and cursing out the crowd when it got restless. It was obviously a big embarrassment for Boyd, as a very young man who was supposed to me responsible for making things go smoothly. He is still quite respectful though (certainly in contrast to ISB, whom he obviously though were idiots, or Fairport Convention). It is a good book, essential for folk rock fans, but less so probably for jazz.

Is the 1980s survey going to cover salsa?

Joe Boyd has a story to that effect in White Bicycles.

I've heard that Alvin Lucier's death has now been announced. I saw him perform once, on a whim, at Exeter's Phoenix Art Centre, about 20 years ago. It remains one of the greatest musical experiences of my life. An obvious and huge influence on many modern musicians, including Yoshihide Otomo and John Butcher, to name just two. RIP

When I listen to the tune Milestones on the original album, I hear a moment of panic exchanged between Kelly and Adderley, I think (if I recall correctly) around the time Adderley enters. Am I guessing that I'm not the only one?

There's something about those late Capitols: their sprawling, loose, anything can happen vibe, plus the fact that there are so many of them that they're practically a genre in themselves.

I actually started this post because some references (I think yours) to those Capitol records led me to reappraise Cannonball, who I have never really classed as a personal favourite, probably because of overexposure to the Riversides. I have been working my way around his back catalogue since then, and have been very impressed at how he plays on his first record, which I think is on Savoy. He just sounds so loose in comparison to the standard 1955 bluesey hard bop approach. You can hear the link right through to those late Capitols. Despite being basically a blues specialist, his playing sounds quite unique to my ears. He also does some weird stuff with his solos (e.g. on the first track on Portrait) that you really would not expect from a player who plays the way Cannonball does. It's a weird one though. He has the name recognition of Bill Evans or Art Blakey, but, other than KOB, Milestones and Somethin' Else, there's very little tribute paid in the wider jazz culture to his actual saxophone playing or records, even less tribute than e.g. Mobley, who is a lot less well known.

Matt Mitchell - Phalanx Ambassadors (Pi, 2019) Really top notch stuff.

Ooh. That's it. Good nickname. It did have me confused though. I also like Larry Kart's "limp and Keepnews-y". A perfect description.

I'm interested to know where other forum members might place Cannonball Adderley in their personal pantheons of saxophone Greats. This is judged on the sole category of your own personal perception of his "Greatness", capital "G" in comparison to his peers. In your opinion, is he right up there with Sonny Rollins and John Coltrane in the world spanning cosmic titans, or is he closer to sublunary greats like Hank Mobley, Yusef Lateef or Benny Golson? Really, I'm interested to know how people feel about Cannonball's place in jazz history. I am asking because he's interesting in that he's one of the most well known of all jazz musicians, but unlike his peers in recognition terms he is rarely discussed in ways that emphasise his "genius" (an overused term in jazz writing, but rarely for Adderley).

Sorry to ask a question about something someone said 16 years ago, but who is Teefsky? I've tried looking at the players on all the Riversides and I can't see anyone with a name that could give rise to a nickname like that.

Plum and Cherry by Basil Coetzee and Lionel Pillay.

Great artwork.

Very very good, I think. Solo saxophone covers of various tunes, including Nonaah. Roscoe Mitchell's earlier style (e.g. on Sounds) seems to be the obvious influence. Those earlier records of his are some of.my favourite modern jazz releases. I'm not sure why it has taken me this long to listen to this.

Just finished The Syndicate - Pezulu Now on: Mitsaki Katayama - First Flight And now, an excellent new release: Darius Jones - Raw Demoon Alchemy (A Lone Operation)

On no. I was dumb. I assumed it would be a venue.

What's LJF? Sorry if I'm dumb.

Josephine Davies' Satori - In The Corners Of Clouds (Whirlwind, 2018)

Dollar Brand - Black Lightening (The Sun, 1976) Such a great record. The title track really does stomp. Does anyone have any idea why these Al Shams / The Sun records have never been properly re-released, despite Brand's/Ibrahim's reputation? As far as I am aware, they are all spread out over various tacky compilations. Streaming this, but I would happily own it. Edit: Having checked, this one is actually not that hard to find on vinyl.

Anthony Braxton - Seven Compositions (Trio) 1989 (HatArt, 1990) Tony Oxley is absolutely fantastic on this.

I was going to ask this question but I see there's already a thread. In the almost 1 1/2 decades since this thread had life in it, have any of you identified any good new jazz podcasts? I quite enjoy Jazz United, which is a show hosted by Greg Bryant and Nate Chinen. Chinen is a known quantity, of course, but Bryant has a different perspective as someone who grew up in (in think) the early 80s in a community with active jazz fans, and has some different influences. Any others that people enjoy?

Bobby Hutcherson - Un Poco Loco (Columbia, 1980)

Yeah, my moderna number two wiped me out. I haven’t been that sick since I was in my early twenties.

Amazing how these guys can just ride a groove all day.