Rabshakeh

Aquila – Aquila

Palle Mikkelborg & Radiojazzgruppen – The Mysterious Corona

I don't think that Ornette Coleman gets classes as "spiritual jazz", but here is an interesting article from the NYT back in the day where he enthuses about the spiritual properties of Southern Christian gospel and Ashkenazi chazonis: https://www.nytimes.com/2006/09/22/arts/music/22cole.html

From @dougcrates too, who I noticed posted it. What's your view? Strong? Weak? Interesting? Go back to tenor please? Team Andre3000? I've only had one listen myself and thought it had depth, deserving of more listens, but possibly not quite the full deal. Perhaps too in love with the calming potentialities of the flute. Maybe it gradually opens though. I like Hutchings a lot and this is an interesting facet to him.

Hermann Gehlen, Giselher Klebe – Jazzmesse 1966 / 12-Ton-Messe 1966

This is happening increasingly often...

Renato Sellani – Jazz A Confronto 9

I've been knocked by both of these. I like Non-Liston Lonnie's approach of adding "Dr." to his name. I said this at the start of the thread. Losing it.

Certainly one of the more convincing artists from the previous generation to "cross over", something that seems to be a bit easier to do now but was rarely done as successfully a decades ago when hip hop was still a sharply defined genre.

Wild Bill Davis the organist and Wild Bill Davison the trumpeter is another near miss example.

Also Kenny Clarke and Kenny Clare, not helped by the fact that they both played drums on MPS records at the same point in time.

That 70s thing where the group feels it wants to make a statement but maybe doesn't have that much to say. Yeah. Centazzo on drums too. I bought it because I liked who was on it.

Bought in a moment of high spirits whilst on holiday in Italy last week. I'm going to listen a few more times but not that wow-ed by it to tell the truth.

Giorgio Gaslini Quartetto - Murales

That's a great example.

But he's still of the "Traditional Jazz" lineage, right? It's multifaceted. And he's not a purist. This is part of it. I am a strong believer in the benefits of Making Jazz Dumb Again (dumb in the sense of mass appeal / sweaty armpits music). I think that fist-pumping to Illinois Jacquet or Jazz at the Philharmonic, drinking to Dixieland, blubbing into your beer over a Johnny Hodges song, or relaxing after a hard day to Stanley Turrentine, is all as much what jazz is about as anything more abstract. Gripping, big grin music, that turns out not to be dumb when examined. All of that stuff tends to be ignored by the wider jazz culture in favour of foregrounding a kind of jazz based around Charlie Parker, Thelonious Monk, Miles Davis and John Coltrane. Those four obviously made great music that we all love, but it isn't the whole story. I'm obviously not being original here in the context of this forum, where these views are thankfully widespread. But there's always that thrill in flipping over the Marsalis side of Fathers and Sons, with its beautifully observed abstraction, to get to the opening track of the Freeman side, "Jug's Not Dead!", which just charges forwards at speed (and possibly, with more real depth than the Marsalises could manage). There were also two other motives in starting this thread. First, I like to make my own mind up, and to do that you need the raw information, which for post 1939 traditional jazz is hard to come by. Second, and most importantly, we all like music a lot, and I want to find out more examples of albums of the likes of Pee Wee Russell's Ask Me Now, Dave Dallwitz' Ern Malley Suite, and the second Soprano Summit record, where something really magical, creamy and unforeseen arises out of musicians from a traditional jazz background doing something interesting.

The Classic Jazz Quartet – MCMLXXXVI

He was half of the group OutKast and has been a highly rated A List personality for about 20 years. OutKast was known for highly creative music that moved beyond hip hop, and Andre 3000 in particular. You might remember their mainstream hit "Hey Ya" from two decades ago. Currently he is making new age flute music on a flute-shaped synthesiser, with a sort of 'spiritual jazz' brand identity, even if not much musical content. I don't think that his flute music is as good as a Paul Horn record even, but it looks cool and the "jazz" turn of such a significant artist has drawn huge press. His flute record was probably the most talked about improvised album of the last three years. His record has shown up on this forum. So he does make perfect sense as a headliner for a jazz festival.

Yeah, but they also released records, which is what I liked about the post. Like all scenes, it developed. The Dixieland of 1984 was not the Dixieland of 1944. There continued to be cool stuff put out. Jim Cullem (who you mentioned upthread), the Black Eagles, Soprano Summit. I'm sure there's a lot more of which I'm not aware. But it is rarely talked about. If the traditional jazz revival is mostly ignored, it's later tail is completely ignored.

I vaguely recall that you are a fan of Ken Peplowski and some others from the most recent end of the scene. Perhaps not part of the revival itself, but part of the lineage. Thanks for this. Basically exactly what I was looking for from this thread. There was a long life to this stuff. It is like the People's Front of Judea. Now, this is the real question. The one that motivates all of civilisation.

Another area that Wyndham misses in his classification, again probably because they were not part of the then-festival circuit, is the swing-to-bop phenomenon of swing era musicians playing hot jazz in smaller groups, whilst retaining "inauthentic " elements from Goodman-era swing or dance bands, e.g. in the rhythm or arrangements. An obvious example would be this one: Jimmy Dorsey And His Original "Dorseyland" Jazz Band – Dixie By Dorsey Lots of other examples out there. Such as many of Bobby Hackett's or some of Pee Wee Hunt's records (e.g. Swingin'). Again, I think that the stuff sold pretty well in comparison to the more purist forms.

Bobby Hackett And His Jazz Band – Coast Concert

Odd how?

Pete Daily's Dixieland Band – Pete Daily's Dixieland Band I must say that I enjoyed this one. A very fun record with lots of interaction and very nicely recorded. Tellingly, I think Daily might have been an old timer who rode the revival, rather than a revivalist per se. Does anyone have an idea of who was in the group? There is a photograph of them on the back cover but no names.

Thanks. That American music is a great resource. Lots of great stuff and these days easily accessible.