Rabshakeh

Thanks!

It does have a bit, but it is through Wilmer's lense. Much as I love that book, he comes across much like all the other subjects.

I'm reading Jazz in the 70s by Bill Shoemaker at the moment. It has a good chapter on Rivers. One thing it brings out is what a good interview he is. Does anyone know of a good place to access his historic interviews or any books that treat Rivers in depth?

I had a real thing for Tacuma back when I was at university. I haven't listened to him in over a decade. Time to remedy that.

Subbing Wilson for Eno?

Great interview. Thanks for posting. This line made me laugh. Does anyone know what this is a reference to? I love Pete LaRoca’s work (including Turkish Ladies, which I confess is the “Chick” record that I put on when I heard the sad news of his death, despite the controversy about it).

Hunh, Did not see that coming either. Just checked Twitter and there’s no doubt about it though.

I'm currently reading this one, after a number of positive mentions here. I am really impressed by it so far.

Braxton says something similar regarding Circle in Forces in Motion, I recall.

I agree. It's quite hard to see Parker as anti-immigration. There were and are all sorts of Brexit views floating around then and now, left, right and centrist.

He does explain in the blurb that the Mullis pieces are "very precisely applicable to the current Covid nonsense"...

It was records like Tim Berne's, Geri Allen's, David S Ware's and the Motian Trio that made my post this thread.

I should have been clearer in the first place.

Just from the point of view of listening to Chick Corea. That's all. I meant no comment on Scientology or Hubbard. As it shows up in the experience of listening to Chick Corea's music I think it is fair to say that it is "anodyne". It's music, not dianetics. I feel differently about Scientology as a whole, and would not disagree with your characterisation. My point was that I feel much less uncomfortable listening to a known Scientologist (Chick Corea) than I do listening to an alleged murderer (Al Haig) or a self-confessed rapist (Art Pepper). I would not put Chick Corea's belonging to the Church of Scientology anywhere near either of those two categories.

Is he? Again, didn't know that.

I hadn't realised Eno was in on it too. The one who gets most coverage over here in Britain is Ian Brown, a singer from an iconic Manchester group called the Stone Roses, who really has really flipped a fuse. I'm not sure how well known he is in the States, but the pandemic really has got to him. He makes Van Morrison look tame. Didn't know that either, but I guess it squares with the rest of his political views. I wonder how he's finding the visa issues post Brexit.

It never troubled me - Just a couple of dopey science fiction themes to ignore. Lenny White's records would have had much worse album artwork if they weren't all members of the "Church". From my point of view, scientology is far down my list of things that would upset my listening habits. Compare to the basic facts of Al Haig's or Art Pepper's biographies.

What a jumper! Magnificent.

Murray's a good example of someone who moved with the times and the labels: from India Navigation, to Black Saint to DIW. I tend to reach for his Black Saint stuff, but his DIW records are a good example of that sort of approachable music that found a place in the mainstream jazz consciousness whilst retaining its vanguard heritage.

https://laplateforme-sonsdhiver.org/crea-parker/ Oh well. This epidemic is sending us all around the bend a bit. Probably not a link to click on if you are a big Evan Parker fan.

Now on to Max Bennett's HENCE! Home You idle creatures, get you home: and lend an ear to ... (Bethlehem, 1956). Move over, Reid Miles.

There don't seem to be any threads on either of these two record labels (or at least I couldn't see any when searching). Despite their different geographic bases, they both had an ecumenical conception of jazz that ignored the rather tired polemics of the time. Both labels put out a steady stream of high quality records that straddled the gulf between camps. They released what was basically listenable and attractive forward-thinking jazz that could be enjoyed by mainstream audiences that might have been intimidated by the reputations of Cecil Taylor, Charles Gayle or Anthony Braxton. In doing so, they launched new careers and rehabilitated old ones. To my ears, these semi-avant (for want of a better term) labels of the late 80s/early 90s have a sound that is as distinguishable as ECM's. When I was getting into jazz, in the late 90s, these two labels seemed to be the go-to labels for high quality albums in the previous decade, and i used to see their records recommended a lot. Despite that, they and their rosters seem to have sunk out of sight a little bit when compared to what came immediately before (Soul Note, HatHut, etc) or after. So, any thoughts on them and the place that they occupied in the jazz ecosystems of the period? What are your favourite releases from these two labels (or any other similar labels of the late 80s / early 90s that I may have missed)?

Some nice records in here. I'm going to try to get my choices in.

Just listened to: Huseyin Ertunc Trio's Musiki (Intex, 1974). Basically another Musra / Cosmic brothers record, but with Ertunc's drumming to the fore. And it really is to the fore. He might be one of the most maximalist drummers ever. There's not a whole lot of space on this record. This is not a Tyshawn Sorry album.

I've got Celia and Johnny on in the background as I make coffee. I've never met a person who didn't love that record. If I ever do, I'll be getting the Voight-Kampff test out immediately.