Rabshakeh

Really looking forward to listening to this one: Jason Adasiewicz - Roscoe Village: The Music Of Roscoe Mitchell There's a lot of jazz musicians being styled as "composers" these days, but very few who I think deserve the name as much as Mitchell (with apologies to two other more prolific and well known "composers" from the early AACM). Adasiewicz is a great player, and Mitchell's writing for percussion is particularly strong, so very exciting news. I would really love to see more of these.

I enjoyed that. A lot of it touched on already here, but nice to read something so in depth. Was it conducted by email?

BYG style free jazz seems like quite an unexpected style to be widely available, particularly in a world where basic Blue Notes were not.

Dave Koz – Saxophonic

Alan Silva, The Celestial Communications Orchestra – The Shout: Portrait For A Small Woman

I know he's thriving (and long may he continue as he is doing) and that people here love him. I was spinning a Houston Person record myself yesterday, so I am one of them. But I had not realised that he received a big marketing push. My assumption had been that he had been a mid level Prestige roster member in the 60s, and then was rediscovered as an elder statesman in the 80s/90s. I hadn't realised that he got a label boost in the 1970s. Regarding Richie Cole, it makes more sense. His records are all over the bins. I remember a recent trip to Minneapolis where it sometimes seemed, from the second hand shops, like the only records jazz fans had bought had been Phil Woods, Richie Cole and Spyro Gyra. Even over here in London you can pick them up easily. There had to be a reason why he's everywhere. I like Richie Cole more than the others on this forum, probably because I was not there to witness it at the time. The saxophone playing is obviously réchauffé, but he had that wider concept of mixing it up with the vocalese and a fair bit of humour. I think the Madness records have aged into interesting forgotten curios. Nothing I'd list in my top 50, but I think that he's an interesting part of 1970s jazz (less so 1980s). Anyway, interesting on Bowie. As a general question, how visible to the average jazz fan was that Paris 1969-1971 period when the BYGs and America records were recorded? Did those records make it over at all? If not the records, the critical reputations? Or did it come with and based on what got reissued by Arista? I am a child of the 1990s CD reissue and early 2000s blog eras, and it is hard for me to imagine how e.g. Anthony Braxton's or Archie Shepp's or even the Art Ensemble's careers would have looked without that period.

Thanks! (Also didn't know that Richie Cole and Houston Person were getting those boosts - not named that are particularly widely known nowadays...)

That's interesting. So New Directions and Nice Guys? That would put it around '79-'80, which seems to reflect how it looked to me retrospectively. So were the earlier AEC records and his Muse records known more within the limits of avant garde fans?

Zeena Parkins – Ursa's Door

A question for those who were there. Lester Bowie seems to have received a lot of name recognition for an avant garde trumpeter. At what point or points did he begin to receive that wider recognition?

I promise that I haven't broken into your house.

Oh no.

The Lat-Teens – Buena Gente

Charles Lloyd – Voice In The Night

Greg Howe – Introspection This one is pretty good. There's something actually at its heart, which isn't always the case with this music.

Thanks! Never heard of them. Will check out.

Frank Gambale – Live! This record cover is basically what I had in mind when I started this thread. Great AllMusic review, in its entirety: "You can't live without this intense live guitar album with over 64 minutes of blazing guitar virtuosity".

Which ones are these?

Flim & The BB's – Tricycle This one hasn't aged into greatness.

I'm with you. Blood On The Tracks and Desire both use a narrative approach that you don't get on those earlier records (or the later ones). I really like both of those records.

Rodrigo Amado, Joe McPhee, Kent Kessler, Chris Corsano – A History Of Nothing