clifford_thornton

agreed. Once Zoot clicked for me, he never let up.

Ah, that's too bad, but what a life!

Matthew Shipp -- specifically influenced by Sal Mosca and Warne Marsh. I realize Matt has been on the scene for quite a while, but he still champions that music.

yep. and I agree with all that Karl has to say. It's not revelatory music but it is very good.

that's the one I am most familiar with.

okay, that part seems line a joke, but the broader query is more serious.

I wouldn't consider a Japanese musician "white." Doubt the original intent of the thread was to fuck with us, given Allen's decades-long exploration of ethnic/cultural identity in his work.

Yeah, I have little interest in the book to be honest. The few reviews I've read aren't particularly inspiring.

this has been corroborated!

Looking up Oscar Dennard's Tangier recording, I found this: https://africasacountry.com/2017/10/tangiers-jazzmen-and-their-phantom-producer

yes, doesn't he still spend a lot of time in SA?

Yusef Lateef taught in Nigeria in the early 80s, resulting in two albums' worth of material. Barney Wilen documented and made field recordings while traveling in north central Africa in 1969-70, also resulting in two albums of material. Lester Bowie lived in Nigeria with Fela Kuti and performed in Fela's band. Sun Ra and his band were at FESTAC 1977 (Lagos) and also performed in Egypt. Max Roach was at FESTAC too, I believe. Archie Shepp and his band were at the Pan-African Cultural Festival in 1969, and I know that was very important for him, Burrell, Moncur, Thornton, Silva, and Murray.

couple of great saxophonists born today: Dexter Gordon (1923-1990) Rob Brown (b. 1962)

yeah, those three are very good. I don't know this one.

Some very interesting musicians born on this day! Also, pianist Chris Anderson (1926-2008), bassist Hilliard Greene (b. 1958), and bari saxophonist Claire Daly (19580-2024).

I would agree.

yeah, Windham Hill is a whole 'nother story, since it was founded by the American steel string guitarist William Ackerman, who was inspired by John Fahey. The first release was given the catalog number C-1001, corresponding to the Takoma Records numbering system (he also reissued George Winston's solo piano debut, which was on Takoma, as well as then-new music by Takoma artist Robbie Basho). Windham Hill later became associated with "new age" but they really were doing something in an American folk-spiritualist tradition, musically, from the beginning.

👍👍

yes, there was a list published and I was trying to find it. EDIT: the site it was on is gone but here's the list via discogs: https://www.discogs.com/lists/Smooth-Jazz-Underground/373593?srsltid=AfmBOoqRsc7RuuBONGFaS0nj4voHYNipEiZeUw_0BiudtJ90Iew5olli

okay, right. Was "fuzak" a term for this stuff? I feel like I remember that being used in the 90s.

see, I always associate Grusin with smooth jazz but maybe he isn't. Obviously both Grover Washington and Mr. Gorelick can play! cdbaby/lofi cassette smooth jazz has some interest for weirdo collectors. It's not my thing, really, but I can understand the appeal.

Braxton has stated Desmond was an early influence, though he moved on from (or greatly expanded upon) that page in a lot of ways. When I interviewed him, he still spoke lovingly of Desmond.

there's degrees of commercialism, of course... I'd rather listen to Winelight than Kenny G, and even Pharoah Sanders and Byard Lancaster could get that "keen" over a disco beat. OTOH, I might throw in some of Bob James' "Explosions" in a free jazz segment of the course. I think one could include smooth jazz but there's a way to do it and not include utter schlock.

depends on what else is in the course. I think if I were teaching a course on the music, there might be more interesting and creative commercial jazz artists to spotlight. Even among the contemporary scene, I'd hold up James Brandon Lewis & The Messthetics, Vijay Iyer/Arooj Aftab, the late jaimie branch, and Natural Information Society as those who have crossed over a bit.

yeah, I'll definitely pick that book up.