Rabshakeh

Triple thumbs up

I have noticed that Braxton references James’ book at almost every opportunity, though, including in the more recent article from The Quietus (which is a more interesting insight into Braxton, I think, than the Grammy interview). It gets nearly a whole chapter in Forces (not Braxton’s own book, obviously, but he must have treated it sufficiently at length in the interviews to prompt such a lengthy recitation of the book’s theory by Lock). I take from his frequent references that Braxton considers James’ book to be a powerful source of inspiration and insight. It is an interesting one, because, despite its rather narrow thesis, Stolen Legacy does end on a very Braxtonian note, with a call for humanity-wide liberation and renewal through an embrace and understanding of what the book describes as the “Mystery System” of “Ancient Egypt”. (Edited to remove first para, which I think misunderstood JS’ point.) My concern, I guess, is that, in a world where 90% of discourse happens in the most shallow way possible on social media, the jargon used is apt to become the message itself. I have seen a lot of dismay on Twitter etc. at his use of this terminology.

I think the weird thing is he uses Fox News-type terminology. Otherwise, I don't read anything there that is really anti-progressive in any way. Note the passing reference to George GM James' Stolen Legacy.

One day...

It's an interesting one. Some musicians' greatest works were during the 10" era. Konitz might arguably be in that bracket (depends on my mood). They're done no favours by having their early work so mangled. It's good to have that at least, and available for streaming etc, but I have no idea why you would even split it like that in the first place. It is a cohesive whole. It's an absurd decision, particularly given how militant Braxton is about his work's integrity in all other ways.

Prestige is / was really something... Plus there's always Miles Davis super-cohesive classique Conception. An album that makes even less sense. I cannot believe that this is still not back in print. It is one of the towering heights of The Music.

This is great advice. Thank you all. Currently on the way to the DIY shop to get a hammer and some 2x4s. The toddler will love his snug new home in the back yard, and in the interests of childcare we will let him in for meals and musical education.

Lee Konitz & Miles Davis / Teddy Charles & Jimmy Rainey - Ezz-Thetic (New Jazz) I am still not convinced that I understand why these sides are together on a single LP, but the first four tracks (the Konitz / Bauer ones with Davis as part of the arrangements) are so incredibly beautiful.

Ha ha. It is an impenetrable place. I have been advised that an AT LP120 with an upgraded stylus and a bit of soldering to bypass the inbuilt pre-amp (I have a fancy Rega) should provide a cut price alternative to a proper Technics. AT stuff comes up in a "second hand shop" (let's call it) near me quite often, and I was sizing that up as a cut price option. Am I being silly? The Rega 3 or the ProJect that MJazzG mentioned were my more expensive fall back options. Whatever it is needs to be robust enough to handle marauding toddlers.

Another interview, in The Quietus: https://thequietus.com/articles/30084-anthony-braxton-interview Less clickbaitey than the Grammys one, and worth reading.

Oliver Lake - Holding Together (Black Saint, 1976) Michael Gregory Jackson is very good indeed on this one.

Tarnation!

(Spins round the <- West End / East End -> sign, to send you to Wapping)

Thanks! The P3 is one of the ones I am sizing up. I didn't know the Linn LP12 but will check it out.

Still thinking it through. The fact is my old one was a fairly cheap starter ProJect and, sentimentality aside, it is time to level up. Probably going to go for a direct drive option. Any recommendations welcome, as I am no tech expert. Still thinking it through. The fact is my old one was a fairly cheap starter ProJect and, sentimentality aside, it is time to level up. Probably going to go for a direct drive option. Any recommendations welcome, as I am no tech expert. perhaps it is time to start getting acquainted with the Steve Hoffman crowd…

Good to know. It has been making eyes at me from a shop I visit in the West End of London for a few weeks now. I may just need to pay a visit. (Twirls moustache)

I've been enjoying Alves' work since @HutchFan mentioned them in a post a few weeks back. Currently on: Dewey Redman - The Struggle Continues (ECM, 1982) With thanks to @Д.Д. for recommending this excellent one. Very different to Redman's free-er '70s work.

Currently spinning nothing. My turntable has just given up the ghost. Oh well. All flesh is grass. Time for the wake.

Only just discovering Brignola after clocking a couple of recentish posts on the Listening To thread. What a player.

Urg. I picked the term as a less controversial alternative to "straight ahead", which always seems to get people talking about drum styles. I just meant that it is post bop / hard bop. It isn't noise rock or avant garde jazz or other music I more commonly associate with the very talented Mr. C. I should have just said post bop really. I mean, it is on High Note... Anyway, currently having fun with this one: David Murray and Milford Graves - Real Deal (DIW, 1994).

The Talented Mr Pelt by Jeremy Pelt (High Note, 2011) Gerald Cleaver is really very good on this mainstream date.

An interesting old thread. Upthread, there are a number of non-legit or informal tapes mentioned in hushed semi-religious terms (or sometimes less hushed CAPS LOCK…). Did any of them get a legitimate release in the intervening 16 years?

Well, Orpington.

Elmo Hope - Trio and Quintet (Blue Note, 1989, rec 1957) I had a pretty religious experience with this one today whilst driving to Sussex.