Rabshakeh

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.

More Power - Dexter Gordon

Is this the new 4LP one? It looks good. How are the new discs? Only just got it.

Ginger Baker's Air Force (Polydor, 1970) Sounds great on the new system.

Just finished this one: The Jazz Composer's Orchestra - Communication (Fontana, 1965).

Jeremy Steig - Temple of Birth (Columbia, 1975)

Which would you start with?

How is this? We were talking about that record he did with Alan Silva a few weeks ago.

Helpful website. I like how Bossa sits outside the whole structure but controls it entirely, like the mythical Planet X warping Neptune’s orbit.

I’m desperately wracking my brain to see if I can identify a fourth kind of jazz. What is Now Sound?

As far as my collection goes, I divide jazz into two: “Nice” jazz and “Evil” jazz. Nice jazz is what is on the shelves that my wife could browse, put on, and be more or less happy. Evil is… the other stuff. Despite that, I do enjoy thinking in genres. Providing that genres are understood to not actually be real or concrete, they can be useful. The retrospective discovery of a genre, such as “rare groove” or “spiritual jazz” can help to move previously ignored (eg because not interesting when judged by the criteria of the time they were made) records into the forefront, as they are now judged by new and different criteria.

She prefers his earlier work on Arista?

Yeah. At 20:54. The recording also has an interesting introduction that explains how the music was obtained by the musician's "grandfather", presumably whilst explaining to a group of schoolchildren or students. That's been edited out for this comp, but is interesting in itself too.

ALso, perhaps Don Cherry’s flute playing? The track Amajelo from Mu 1 in particular has, to my ears, some very clear indigenous North American influences. It brings to my mind Belo Kozad’s famous Kiowa flute recording.

Yes, that's right. Solo and weird.

I don't know that one. I must check it out. Currently listening to Masahiko Togashi - Rings (East Wind, 1976) Having just finished all three volumes. of Cecil Taylor's Nuits de la Fondation Maeght

Richie Beirach Trio - Trust (Evidence, 1996) So good…

I've only read the Paris Transatlantic interview from a few years back, but Greene seemed pretty forgiving. It sounded like Baraka had himself dismissed the article as a youthful mistake and effectively apologised. I'm not sure how much of that is real on either side.

It's a pretty serious hit job. I always wondered whether something personal lay behind it. It's not like Greene was the most high profile white free jazz artist. Until I read that Nate Chinen piece, I actually had no idea that Burton Greene was on that Patty Waters album. It's an album I have lived with all my adult life, since before I even got into jazz. The brittle sounds of the strummed insides of the piano have really stuck with me through the decades.

A good article. I was surprised to see.on Twitter that Nate Chinen was tweeting about Greene, as I mistakenly assumed that he would not have been on his radar.