Rabshakeh

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.

I'm not sure whether people have seen this, but a great documentary on Ayler that is currently being made available for free: https://insheepsclothinghifi.com/my-name-is-ayler-2005/ Guilty of a bit of Yoko-ing towards his girlfriend at the time of his suicide, but otherwise a compulsive watch.

Random question: Does anyone know of any subsequent saxophone players who have claimed Marion Brown as a particular model for them?

Arrived all in one piece?

Jerome Harris - Hidden in Plain Sight (New World, 1995) An intelligent Out to Lunch tribute, with electric bass and a contemporary sound.

It's been a while since the last Coin Coin came out, and we're only a quarter of the way through the project. Has anyone heard anything about where the project is going? Has Roberts just gotten cold on the idea or irritated with the publicity it has been getting or something?

I listened to this a week ago, but struggled to get through it a bit. Braxton sounds exhausted. I do like Burning Ambulance. The guy behind it does good work.

I've spent the morning on a bit of a 90s free jazz revival kick, with Chicago Octet / Tentet and Bikini Tapes' Atomic. Both excellent albums. I really miss that period's mix of fire music, tight group arrangements and very varied songwriting. In retrospect, it's striking how alien the spirit of the music is to the original 60s New Thing that inspired it. Even so, it was an exciting time, which left some great records.

Interesting. I certainly don't know it. I will check it out. Currently having all the fun in the world with Arthur Blythe, having just finished a birthday girl Shirley Collins marathon.

Have you always filed by label? Or did you adopt that later on after coming to the conclusion other methods didn't work. I think that for jazz, as with some other types of music like soul music, the label is a key part of the sound, and could, in many ways, stand in for sub-genre. So it makes a lot of sense to catalogue in that way.