Rabshakeh

Thanks! I'll definitely revisit. The Andre 3000 thing was a joke, although it is interesting that they both made the same step at the same time.

Sidney Bechet & Claude Luter Et Son Orchestre – Olympia Concert

Han Bennink / Willem Breuker – New Acoustic Swing Duo

Rich Halley - Fire Within

Art Ensemble of Chicago - Urban Bushmen With the bloody obi.

It's such a great record.

I think that I have heard of the Saints and Sinners as a group. What are the best records to start with? I am actually still quite nervous with my own purchases of trad jazz. My wife's dad loved the scene and she has happy memories of old timers coming round to play piano at house parties, so she is quite tolerant. But even then I only have a tiny number of traditional jazz records. Pee Wee Russell is a big favourite of my wife's and we have a nice £1 comp of very early Acker Bilk when he was still actually trying. But that's all That's leaving aside the box of weird amateurish records by groups with names like The Hull Librarians River Stompers that I inherited from my father in law.

Marius Cultier – Marius Cultier

Blind Connie Williams Yes. So many great flute records out there. Not sure this sits up there with Wess, Kirk, Hemphill and Newton. But we shall see.

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.