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I was a bit puzzled when in one of the very first paragraphs the author cited James Lincoln Collier's "The Making of Jazz" as a prime source for his statements. I had started reading it last spring but was somewhat put off by his sweeping generalizations that crop up time and again. So ... all to be taken with a huge grain of salt ... Though heroin addiction no doubt was widespread. As to which is cause, and which is effect ... that sounds like a different story ... OTOH, the following statement as such no doubt is true: "The 1950s were when jazz truly lost its black audience." But IMO this is due to mainly musical reasons in the first place. R&B, Jump Blues, City Blues (you name it ...) replaced jazz (i.e. Swing-style jazz) as the POPULAR music among the Black community and eventually evolved into Soul (with Soul Jazz being about the only style of jazz that was able to maintain a relatively firm footing in the Black community while that style lasted). Yet the days of jazz as a definite part of popular music were largely over soon after WWII.  But where's the link of this loss of the Black audience and the widespread use of dope? I cannot quite see it in this article.

Sven Hessle – Grekisk Rapsodi / Novotek

Dame Maggie Smith

The page where I found the cover art also has a track listing… (…and btw, the Steve Hoffman link above says it’s 2cds!) https://www.allaboutjazz.com/album/forces-of-nature-live-at-slugs-mccoy-tyner Tracks: In 'N Out; We'll Be Together Again; Taking Off; The Believer; Isotope. “In ‘N Out” and “Isotope” are Joe’s tunes.  “We’ll Be Together” is surely the Fischer/Laine standard. There’s a McCoy tune called “The Believer” from an early-1958-recorded session on the 1964 Coltrane album by the same name — and I’m seeing it’s credited to McCoy (I guess that’s right, but 1958? — I thought Trane and McCoy didn’t cross paths on record quite that early, can someone set me right?) I don’t know “Takin’ Off” at all (and nor does Google, with any of the names on this live date). Maybe a spontaneously improvised tune. EDIT: Yeah, it appears “The Believer” was written by McCoy, and recorded by Trane a couple years before they recorded together. https://concord.com/concord-albums/the-believer/ • The title piece was composed by McCoy Tyner, still a teenager at the time and more than two years away from his key role in Coltrane’s working quartet.