Rabshakeh

I was wondering about this too. Do people differentiate?

Feels like a very different type of music.

You got the last one, apparently.

ErstLive 005 by Keith Rowe/Sachiko M/Toshimaru Nakamura/Otomo Yoshihide (ErstWhile, 2005). I loved this one when it came out, but I guess that nothing ages worse than yesterday's electronic improvisation. I can't see what I liked about it now. Now on to Ethan Iverson's Costumes Are Mandatory (HighNote, 2013). Lee Konitz' chemistry with Larry Grenadier is the main appeal of this one for me. I pulled it out mainly because the day it was released, I was in sunny Avignon at the theatre festival, and that's an appealing place to be, right now, from the point of view of icy 31 December 2020 London.

That's a good record.

I didn't know this one. I like it.

I find it interesting that a fair few of the responses above highlight the late 80s and early/mid 90s generation as having explored and improved upon the sound and style of the early/mid 80s set (with which this thread is concerned, call them what you will), and that it is the chronologically later musicians to which people find themselves returning, 20-30 years on, rather than the actual "Young Lions". I suppose it's somewhat ironic, given that the "Young Lions" have assumed a form of canonicity which the following generation did not - perhaps that's because they never had a snappy marketing line and major label interest. Perhaps if they had been billed as "The Younger Tigers" and released on EMI they would have a similar standing. Who knows. Personally, aside from Terence Blanchard, I had never felt much of an urge to explore the earlier neo-boppers, but I'm going to revisit the records that have been mentioned in this thread. I'm probably more intrigued, though, by the idea of exploring the following generation of neo-bop / straight ahead musicians that are spoken of more highly, as I really know very little about them.

Peter Brötzmann and Han Bennink - Schwartzwaldfahrt (FMP, 1977).

For some reason, I had both of them down in my head as being part of the Young Lions set. I had been wondering why they were missing from the responses, as both of them made some pretty solid albums that are among the few from the period to which I occasionally listen. I wasn't around at the time (or I was, but I was digging cutting edge nursery rhymes rather than retro jazz). Why were they perceived as a different thing? Different tailor?

Fresh would be nice, but these will be second handm There are some copies of the LP available on discogs in reasonable enough condition.

Interesting. It's quite a varied set.

Hey, that's great. Thanks. I have The Horse The Man and The Boy? by Obey and "his international bros" on vinyl, which I love. That one sounds great as well from the video I found. It's going to get ordered!

Asking this question more out of idle curiousity than anything, really. Leaving aside the frequently discussed early Wynton Marsalis albums like Black Codes (which I suppose are part of the "jazz canon" now) does anyone still frequently* listen to any records released by the "Young Lions" or "Neo-Boppers" (or whatever name you want to give the 80s crop of young men in suits playing Blakey or Davis Second Quintet type music)? *By "frequently" I mean, e.g., "once or twice in the last two years". Obviously opinions are divided on the merits of this "movement" as a whole and on Mr. Marsalis in particular. There are plenty of threads on this forum about that already. I'm just interested in whether people who liked or were tolerant of the development at or around the time still dig those records out, and, if so, which.

Trying to find this - it isn't on the LP I have. It sounds pretty interesting. Probably my favourite Highlife album ever. If anyone has any others that they think win out, please let me know. I can always use more highlife in my life.

That's disgusting. How is that acceptable?

Who knows. However unwise the decision is, it's not going to be worse than any other of the decisions surrounding Brexit. Honest Jon's is pretty responsive to email, so it's worth sending one to check that they have the payment.

Fly or Die II: Bird Dogs of Paradise (International Anthem, 2019) by Jaimie Branch. An album from last year that seems better with each listen. Like quite a lot of recent albums it does that nice trick of adding a bit of dancehall and South American musical influences in to enhance the appeal.

Honest Jon's in London has it for just over £40. https://honestjons.com/shop/artist/Rashied_Ali_Frank_Lowe/release/Duo_Exchange Not sure what the shipping would be to the Netherlands.

It's telling that four of these albums are on Black Saint / SN. Between that label and the various Hats, the late 70s and early 80s have an incredible selection of great records.

They’re two personal favourites , particularly the former.

I have always struggled to find Mal's records. They seem pretty rare in the UK. Presumably because so many of them are all now in the Netherlands!

I love some Rocafil! Time to crank up Sweet Mother.

Finally got round to watching this last night. To be honest, I thought it all looked a little sad and seedy. Bley and Shepp looked like they were close to or immediately post collapse. It was great watching Cecil Taylor play, though. Incredible to see his hands move across the keyboard.

Those are great comparisons. Again. I hadn't clocked it. Quiet geniuses working in the background.