Rabshakeh

Eric Kloss' Consciousness! (Prestige, 1970) There's been some mention of this recently which inspired me to dig it out. A really great album, with some of Chick Corea's best playing.

Neuringer/Dulberger/Masri – Dromedaries II (Relative Pitch, 2020) Really hot stuff, and recommended for those on this board who don’t mind it free. Now on to this one: Historic Concerts (Soul Note, 1979) by Cecil Taylor and Max Roach

One of my favourite records of the 1990s, the Misha Mengelberg Trio's No Idea (DIW, 1997). In my head, it sits right next to similar classics by Lacy, but this one in particular is Monkism as extremist provocation.

I was generation minidisc, and only had a few tapes. I loved my mixes, and spent hours drawing colourful labels etc., but it was all metal, east coast hip hop, dub and hardcore. Then and now I have always preferred enjoying jazz as an album-length artform, not on a song by song basis. The sole exception being classic bebop, where there's not much choice.

Just finished: Litania Sibilante by Italian Instabile Orchestra (Enja, 2000) A brilliant big band record. With thanks to whoever suggested it recently on the Italian scene thread. Now playing: The Warne Marsh Quintet's Jazz Exchange Vol. 1 (Storyville, 1975). Not the best of their meet ups (that would be Halfnote, in my opinion) but a favourite nonetheless!

Nice one!

I’m less into it than I was, to tell the truth. His playing is still good, but I feel that the rest of the world has caught up a bit with the rest of the concept, and it now seems less special than it did at the time.

Power Lines by Ned Rothenberg

I may have mentioned elsewhere, but Matana Roberts is apparently a big fan of this one. I'm not sure that I hear a lot of it in her alto playing.

I don’t know what the music is like, but the covers are entertaining.

Now on to Expression (Impulse!, 1967) by JC.

Some electric Bley, Peacock and Bennink to end the weekend on a high, with Paul Bley's Improvisie (America, 1972).

Gioia's career strategy is Jazz Writer.

I do find that the lyrics have got less funny and more difficult to handle with time and age. That's less of an issue for original Mothers and the Roxy band.

Certainly my second most preferred era. Along with MOI, OSFA and Roxy are the only Zappa records I ever still listen to. But I definitely listen to the original Mothers more.

Yep!

Never went away.

Mingus Presents has some pretty tasty dual solos between Ted Curson and Eric Dolphy. I'm not sure why they didn't pop into my head at the start of this thread.

Thanks, both! Also, glad Pink Elephants on Parade got the treatment it always deserved.

An understandably even-handed response. Of the three others that you mentioned, would you recommend any? That's what I thought too!!!

Same reason that I was revisiting it. And, I guess it reflects the state of mainstream jazz in the early / mid 80s. It does stand out among its peers.

Then onto: John Coltrane's Expression (Impulse!, 1967). I never understood it. How did A&M come up with those players? It's a great selection. Also, and on a different note, they must have spent a tonne recording it and getting everyone involved to show up, because it still sounds beautiful. But could they not have schtupped the graphics department something?! It looks like a cheap public domain comp.

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.