Rabshakeh

It can be hard to find the older US stuff on the second hand market. I think it was very rare in the 1960s because it was mostly imported.

Peter Bocage With His Creole Serenaders And The Love-Jiles Ragtime Orchestra

What are they on?

Oh yeah. And Circle too. If anything, Braxton, Holland and Altschul were a spin off saxophone trio.

I realized I never posted this one. Blue Note's go to rhythm section for grittier hard bop records. These are great. Along with Drake / Parker, who you mention up-thread, these cover half my record collection. Did Holland / Altschul play with others other than Braxton?

John Tchicai - Solo

Also, Boland / Woode / Clark, which would later become the heart of the BCBB. Basically a list of the musicians whom I have seen play live the most. Did they work for others? One that's just occured to me is what I sometimes see as the Blue Note 'back up' piano trio of Horace Parlan, George Tucker and Al Harewood, who played on many of the tougher sounding Blue Note releases of the 1960s, along with various Parlan-led dates. This is exactly what I had in mind. Behind everyone from Booker Ervin to Eric Kloss.

What are some good examples of rhythm sections (bass and drums, with or without piano, organ, and guitar) that, without being conceived of as their own groups, took on a life of their own as self contained units, and played across their own and various leaders' albums? Two, rather obvious examples: "The Rhythm Section" of pianist Red Garland, bassist Paul Chambers and drummer Philly Joe Jones. The piano trio from Miles Davis' First Quintet, which was then hired out for various other dates, most noticably the Art Pepper one. "The Magic Triangle" of pianist Cedar Walton, bassist Sam Jones and drummer Billy Higgins, which played across numerous bop records of the 1970s. Slightly more obscure, but also a piano trio: Pianist Steve Kuhn, bassist Steve Swallow and drummer Pete La Roca, which played on Art Farmer's Sing Me Softly, Pete La Roca's own Basra, and Kuhn's own Three Waves, in a highly distinctive fashion.

A question that I feel slightly silly asking: Prior to "Cool Jazz" coming to mean Getz / Tristano / Baker etc., was it commonly used to refer to Bebop? The Leonard Feather 'Hot Versus Cool - A Battle Of Jazz' (1952) has Dizzy Gillespie leading the Cool Jazz All Stars (no doubt an established touring band) competing against the 'Hot' Dixieland groups. I also noticed that some obituaries of Charlie Parker referred to him as playing cool jazz, including one paper shown in the relevant episode of the Ken Burns documentary that called Parker the "King of Cool" (I can't locate this with a Google search for some reason).

Nice one. Do you own these? They're tricky to stream. Surprisingly good records for such a silly gimmick. I enjoy how sinister it makes McPartland look.

A Carter family comp that I bought in the market. A surprise hit with the six year old, so getting some heavy rotation. This is nice. This is the area of my record collection I most dream of building up. Surprisingly hard, at least this side of the Ocean, where that music has never had a huge sway.

Never heard of this one. How do you rate it?

Azure or Standards? I'll have a listen if the former as I don't know that record. I've always been a bit interested in the British scene of that time (the Silver Age?), as well as the equivalent scenes in other European countries. They're pretty much buried by history. Not golden age, so not reissued; not American, so not likely to be reissued; but also pre-internet, so generally not streamable. As for Standards, it struck me as a record that didn't have much ambition beyond just playing. Loved the trenchcoat though. Interesting, thanks!

Oh no!

Tommy Smith – Standards First listen (it is on Bandcamp). Ew. Great cover art, though I was obsessed with his performance on this record as a teenager.

Silver Leaf Jazz Band – Streets And Scenes Of New Orleans They decided to release it in Black Jazz colours, for added vinyl collector appeal. Now on this one, with Axel Dorner and Rudi Mahall

I had no idea it was still going.

Came down from putting the kids to bed to find my wife happily listening to this one:

David Eyges – The Captain

Interesting! Will try that.

Is this a new one? How do you like it?

Sorry for asking, but when was this? I think this experience was true of many, but I wonder whether it still is. For me, as a young jazz listener (late 1990s), Oscar Peterson was really not an obvious figure with whom to start. I only gradually discovered him as I went deeper, by following through the various Granz catalogues.

I don't think that the last years' worth of posts have been about bashing Peterson. Mostly it seems to be views aligned with your own.

Wa?

At the same time, I had an instructive experience recently when both Nommo and Babi were finally re-released. Both records I knew very well, but had never played back to back, at least until the re-release. Because of their similar covers and the Milford Graves' name, I'd always viewed them as equivalent, despite the chronological gap. But listening to them together, back to back, one is sublime free jazz, and the other is an exercise in musical extremism for it's own sake. Which is fine, but that's what Doyle is, basically. Sometimes you want the musical terrorism. All that said and done, I'm glad I got Alabama Feeling, finally. I am embarrassingly ignorant on hi Fi matters. I had the same turntable for years and it was fine. I upgraded to the P3 and it felt like I had a whole new record collection. Not it sounds less good, though. I have no idea why. I know I need better speakers and probably better wires. But it just don't know where to start.