Rabshakeh

That's basically what I mean. It is quite special in its own ways, but depth and interplay are not among them. Very good as a mood changer though.

A good one.

Back to work today, and blasting out Norman Granz' Jam Session #1. However it might have been perceived at the time, I think the record has aged extremely well. Really upbeat and emotionally impactful teenage hormone jazz (if I can call it that without disrespect). It's doing a great job at resetting my mood.

Warne Marsh's Release Record. Send Tape.

He does things to tunes that others haven't yet discovered they need to do. Solal and Konitz in particular is one of my favourite saxophone / piano partnerships.

Listening to Desire Develops an Edge (American Clave, 1983) by Kip Hanrahan. The line up on this record is incredible. https://en.m.wikipedia.org/wiki/Desire_Develops_an_Edge

Thanks is everyone for all the recommendations above. Some really interesting stuff - not just the usual suspects. I'm still holding out for some subtle and expansive norteno post bop, with slyly outside accordion playing.

To my ears, this is to some extent true of 1967 Coltrane too, though. Those clear Traneisms just dropped out. And I agree on the Ware point. He might have taken the spirituality, but what he actually plays seems to come from elsewhere.

The jazz world since the 60s has been full of saxophone players influenced by Coltrane at his various stages of development. However, I can't immediately think of any player who shows a clear influence from the music recorded in the final year of Coltrane's life, i.e., Expression, Stellar Regions or Interstellar Space. To my ear, that's a very different sound to the music that Coltrane had been playing even two years before. It still sounds strikingly personal. Can anyone think of anyone who shows a clear influence from that period of Coltrane's playing?

One Upmanship by Mal Waldron (Enja, 1977) It's been a bit of a Waldron day here. I woke up this morning with Lacy's soprano line to 'Johnny Come Lately' from Sempre Amore in my head, and haven't really escaped since.

And now: We and The Sea by Tamba 4 (CTI, 1967).

Just finished: Alexander Hawkins - Unite (AHM, 2017) Now on Gino Robair’s and John Butcher’s Liverpool (Bluecoat) Concert (Limited Sedition, 2001). Both very enjoyable records.

Hues is definitely a good one. I like the Tuba trio records too.

On the Blythe, I love the mix of tuba and cello. Those are two of my favourite Hills too.

Warne Marsh - A Ballad Album (Criss Cross, 1984) Now playing: Arthur Blythe - Metamorphosis (India Navigation, 1979).

Serious stuff.

He always seemed like an arsehole in interviews, so I'm not surprised.

I am no longer able to explain it to you. It made sense to me at the time.

I wish they did downloads. I would buy it all.

I think that's my favourite Metheny.

Got confused. I meant the King's Cross one, which has had a slight restock of its used selection since December and is worth a visit I think. West has got more interesting reissues and modern jazz at the moment than it used to have, but still pretty much all new.

It was a new one for me which I bought on Sunday on a whim at HJs West (record shopping's back!). I knew the other early Berne's but not that one. I am really happy with it.

Time Berne's Sanctified Dreams (Columbia, 1988)

Lester Bowie - Rope-A-Dope (Muse, 1976) Stanley Turrentine - Never Let Me Go (Blue Note, 1963) I really think that this is an underrated gem even within Turrentine's and Scott's catalogues. It has such a heavy hit of gospel and blues to it, but, over and above that, the timing is so stretched out. It's amazing.