Rabshakeh

I'm listening to Contours right now. I am a non musician, but does anyone know of any analysis, ideally available online, that can explain in very summary terms what Rivers is doing musically in his solos here, and why it sounds so different to Ornette, Eric Dolphy or Coltrane?

That had passed me by. I'll check it out.

The contents page looks pretty enticing. I have added it to my list.

Thanks. I'd seen the Steinbeck, but would be interested in hearing what people have to say about it: not all of the reviews at that complimentary. I think there is another book out there too, although I forget the name. George Lewis I have read, and I don't recall it going into that much detail on personalities and internal creative politics within the AEC itself. It's a great book that sits probably at a level above what I am looking for (which would be more anecdotal than Lewis). Fundamentally, how did musicians with as fundamentally different outlooks as Bowie, Mitchell and Jarman manage to stay together, and continue to produce music for decades? I assume it wasn't always that easy - there are noticeable gaps in the AEC chronology where the leads tend to pursue their own thing - but it is an incredibly impressive body of work across half a century. It's hard to think of any other group that achieved that without having some sort of central decision maker (e.g., the Arkestra).

Roscoe Mitchell - Old / Quartet (Nessa, 1975, rec. 1967)

My favourite "jazz" record of all. The toddler's middle name is "Roscoe" after I played it to my wife whilst pregnant. I'm interested to hear anything that Chuck recalls.

Does anyone know of a book or film of any length that deals closely with the inner workings of the AEC, including creative control and internal relationships? It's incredibly impressive that any group stays together that long, let alone one with so many leads.

Just seen on Twitter that Eleusinian Press has commissioned a book on Scandinavian free jazz from a writer called Daniel Spicer.

Steve Lacy - 5 X Monk 5 X Lacy (Silkheart, 1997) Hubba Hubba

Oh yeah. I guess that does make about 30% sense.

What does "Rat On!" even mean? Can I opt out?

Jackie McLean - New Wine in Old Bottles Just finished Eraldo Volonte - Safari

I think that Clean Feed started very good indeed and has since turned into something I'm not into at all. What grated a bit about the FJC coverage is how it has skewed to the latter.

I'm not a great fan of international football, but that was for once a good, league-standard final. Well done to Italy and I second mjazzg's point on the refereeing, which has been good throughout. Sad about it, but that's the magic isn't it, I guess. Young team, hopefully with bright years ahead.

I am being a bit uncharitable, perhaps

A bit off topic, but the Free Jazz Blog's Clean Feed anniversary lovefest is getting a little cloying.

Thanks!

Is this on a record?

My father and aunt are both in love with this album. It meant that, growing up, it was the first experience I had with jazz, and the second jazz CD that I owned (after the inevitable KoB).

Anthony Braxton - For Four Orchestras (Arista, 1978) First time I've sat down to listen to it. I'm actually quite enjoying it, but my main thought is that it doesn't really seem to need all four orchestras. Perhaps it's different in quadrophonic mix, but there doesn't seem to be anything here that you couldn't do with one.

Well, it is now free to watch on that link, if anyone fancies it. I certainly recommend it.

Ha ha. He won't last long. There does seem to be something happening in the music world at the moment, in which "spiritual jazz" (as I think these records are billed) is now very cool. I have read a few opinions on social media, mostly off the back of that Pharaoh Sanders / Floating Points record, that are raging about the supposed "gentrification" of free jazz, but I personally think it's fine - more interest means more reissues, and it's not like its leading to a scarcity of Arthur Doyle records or anything. Suddenly DJ friends, one record shop guy and my 17 year old nephew are all about this music, and I think that's great. Reel 'em in.

What surprised me was that one was with a record shop guy. Don't get me wrong, I appreciate enthusiasm, but I prefer my record shop staff cold, cynical and unimpressed with everything I do or think.

The Contemporary Jazz Quintet - Location (Strata, 1973). Despite being the raw sound of the 1970s Detroit jazz underground, etc etc, this sure does sound like it could have been released on Three Blind Mice by some quietly spoken Tokyo Daigaku students (save for from an audio standpoint). It's funny this sort of electric jazz wasn't more widespread.

Languidity is one of those jazz records that seems to have an extraordinarily inflated amount of cultural capital attached to it. I have had two irl conversations in the last week with very enthusiastic fans for whom Languidity was at the centre of their jazz listening (along with Journey by Alice C and Karma by Pharaoh Sanders). I think it lends itself to lavish vinyl represses that capitalise on its status. Hence why I've stayed away from this one so far. But I'm still interested to hear what people are saying. Ha ha. Snap. That's putting what I was trying to say far more eloquently.