Rabshakeh

Now playing: ICP0001 itself: New Acoustic Swing Duo (ICP, 2017) by Han Bennink and Willem Breuker. To my ears, this one is easily on a level with Machine Gun or Karyobin. Fantastic free music, but clearly jazz.

Just finished: That's the Way I Feel Now: A Tribute to Thelonious Monk (A&M, 1984) A record that gets better with distance. If anyone knows the reason why there are so many musicians from the "downtown" scene on a major label big budget tribute to Monk, I'd be interested to know.

That looks tasty. Whatever one might think of the estate. For me, FZ has always been about those first seven MOI records. My love of his later career has come and gone, but those seven are perfect as far as I am concerned. And Uncle Meat sits right at the centre.

What is it? I hadn't heard of it at all!

Truly great truly odd record. I had it on vinyl but sold it recently because noone else in the house would tolerate it, despite putting up with Ayler, Nonaah and a hundred other worse things.

Rather random question, from a rather old (and rather weird) thread. As a callow 37 year old youth who was only aware of Mr. G from the '90s, I've always thought of him as essentially a brand trademark for the ECM sound / lifestyle. Every bit of coverage or conversation I have seen or read about him has always mentioned his nordic/icy/folk sound, and then immediately segued into the question of the appeal or otherwise of ECM. The above thread is an example of this. Obviously, though, that's based on his post 80's career. As the posters above mention, Garbarek's earlier records don't necessarily sound like that at all. Nor, for that matter, do ECM's. I'd be interested to know from the more experienced members of the board how Garbarek was perceived by the jazz public and critics when he first emerged in the late 60s and early 70s with Afric Pepperbird, etc. Was he viewed and marketed as part of the Avant Garde? Did people remark on how "icy" his sound was, even then?

I stared at this for a while this morning, wondering why Red Rodney was on the cover of a Jackie McLean record. Moral of the story: drink coffee. Now playing: Far From Over (ECM, 2017) by the Vijay Iyer Sextet. Love that three horn front line, and Tyshawn Sorey in a more “conventional” mode.

I love that King Kong. It was one of my entry routes into jazz. The whole record has a real special aura, at least on LP. The CD reissue was a real butcher’s job.

I wonder whether that comes with the territory slightly. I am an ex-flute player myself, and love the flute in jazz, but I have noticed that it sometimes attracts less innovative players. My personal view is that the quality of imaginative jazz soloing and composition on the flute is generally not equivalent to e.g. clarinet. I accept that’s a nebulous and subjective view. I think it’s telling that, going by this and other flute threads on here, many people’s favourite flute players are often multi-instrumentalists who play the flute, rather than dedicated flute players. The best pure flute records by dedicated flute players are to my ears often genre records, with an emphasis on earthy blues groove. That isn’t to say they are bad records: I have lots of time for them. (Edit: I’m immediately thinking of exceptions - James Newton, Nicole Mitchell, etc.)

I've been obsessed with this one since I was a teenager.

I've been trying to think of a taxonomy for such a thread, but, to be honest, I scared myself off. If anyone else fancies it, by all means, go for it: there's no copyright in an idea. But too big for me.

I just felt sorry for the guy. Turns out it’s harder than it looks. Who knew?

Currently have The Secret Between The Shadow and The Soul (Okeh, 2019) by The Branford Marsalis Quartet on. It’s... not very good. It’s going off.

Yep. This sums up my views exactly.

What is this one? Strange lack of any online presence, but I'm always interested in Tani Tabbal.

Some good stuff!

Jaki Byard at Maybeck (Concord, 1991) Possibly my favourite of the Maybeck series.

It’s the second side, really.

Ooo

Which Rouse is it?

Now playing: Birthday boy Ornette Coleman and Charlie Haden - Soapsuds, Soapsuds (Artists House, 1977) So, so good. Just finished:. Peer Pressure by Brian Lynch (Criss Cross, 1987) This one is genre work, but done well I think. It is more fun than a lot of other retro stuff from the time. Terrible terrible cover photo - someone needed to turn down the flash. Now on to: Company 5 by Leo Smith, Maarten van Regteren Altena, Derek Bailey, Tristan Honsinger, Anthony Braxton, Steve Lacy and Evan Parker (Incus, 1977) I think this is the pleasantest and easiest to follow of all the Companys, probably because so many of the players had a more intimate relationship with the jazz tradition. Braxton's and Smith's flute playing is really gripping.

Probably my favourite of the group's.

Is there a thread anywhere on this forum discussing what a good jazz library might include? I.e., the canonical jazz texts and/or personal favourite jazz books? For listeners and students, rather than musicians. It seems like there should have been one already. I've tried various searches and can't find.

Snap!

Thanks.