A Lark Ascending

I picked up the Berger too, WorldB3, on your rec. Very nice indeed. That Kenny Wheeler is wonderful...doesn't get much attention as it lies outside the ECM sequence of those years. Nice to hear Stan Sulzmann who was rarely recorded at that time (though a frequent player on the UK scene). There's a marvellous tango on there!

Well, look what I found! No timings but... Apologies for any errors. I'm sure there are others here who can spot them instantly! E.S.P. Eighty-One Little One R.J. Agitation Iris Mood Miles Davis (trumpet); Wayne Shorter (tenor saxophone); Herbie Hancock (piano); Ron Carter (acoustic bass); Tony Williams (drums). Recorded at Columbia Studios, Los Angeles, California from January 20-22, 1965. Orbits Circle Footprints Dolores Freedom Jazz Dance Gingerbread Boy Miles Davis (trumpet); Wayne Shorter (tenor saxophone); Herbie Hancock (piano); Ron Carter (acoustic bass); Tony Williams (drums). Recorded at the Columbia 30th Street Studio, New York, New York on October 24 & 25, 1966. Nefertiti Fall Hand Jive Madness Riot Pinocchio Miles Davis (trumpet); Wayne Shorter (tenor saxophone); Herbie Hancock (piano); Ron Carter (bass); Tony Williams (drums). Recorded at Columbia 30th Street Studio, New York, New York on between June 7 and July 19, 1967. Prince Of Darkness Pee Wee Masqualero The Sorcerer Limbo Vonetta Nothing Like You Miles Davis (trumpet); Wayne Shorter (tenor saxophone); Herbie Hancock (piano); Ron Carter (bass); Tony Williams (drums). Additional personnel: Bob Dorough (vocals); Frank Rehak (trombone); Paul Chambers, Buster Williams (bass); Jimmy Cobb (drums); Willie Bobo (bongos). Recorded at Columbia Studio B, New York, New York on May 16, 17 & 24, 1967; Columbia Studio A, New York, New York on August 21, 1962; Columbia Studios, Los Angeles, California on May 9, 1967. Stuff Paraphernalia Black Comedy Country Son Miles Davis (trumpet); Wayne Shorter (tenor saxophone); Herbie Hancock (acoustic & electric pianos); George Benson (guitar); Ron Carter (bass); Tony Williams (drums). Recorded at Columbia Studio B, New York, New York on January 16 and from May 15-17, 1968. Water Babies Capricorn Sweet Pea Two Faced Dual Mr. Anthony Tillmon Williams Process Additional (my choice...not part of commercial release) Splash Splashdown Miles Davis (trumpet); Wayne Shorter (tenor saxophone); Herbie Hancock (piano, electric piano); Chick Corea (electric piano); Dave Holland, Ron Carter (bass); Tony Williams (drums). Recorded at Columbia Studios, New York, New York between June 7, 1967 & November 12, 1967. These two were my own cobbled together discs of extras: Water on the Pond Fun Teo’s Bag Circle in the Round Thisness Miles Davis (trumpet); Wayne Shorter (tenor saxophone); Herbie Hancock (piano, electric piano, celeste, electric Harpsichord); Ron Carter (bass); Tony Williams (drums). + Joe Beck (g) 1, 4 + Bucky Pizzarelli (g) 2 May 1967 - Jan 1968 Sanctuary Side Car I Side Car II I Have a Dream Speak Like a Child Ascent Directions, No. 1 Directions, No. 2 Miles Davis (trumpet); Wayne Shorter (tenor, soprano saxophone); Herbie Hancock (piano, electric piano, 1-6); Chick Corea (electric piano 6-8); Ron Carter (bass, 1-5); Dave Holland (bass, 6-8); Tony Williams (drums, 1-5); Jack de Johnette (drums, 6-8) + George Benson (g) 1 (4 has either Benson or Joe Beck on g) + Teo Macero (tambourine, 6). + Joe Zawinul (e-p on 7, organ on 6) 1-5 Jan-Feb 1968 6-8 Nov 1968

I've re-assembled the 65-68 and IASW discs as original LPs (with a couple of discs with the oddities on). There is overlap between the two with 'Files de Kilimanjaro' and 'Water Babies'. Not sure where the Word file went that I used to make the CD-R sleeves - but mine was very basic - titles, timings and musicians. I find it much easier to listen to this way.

I do...and I'm first generation, nouveaux lower-to-middling middle class! Can't cope with G+S, have to suspend my disbelief at the plots and the exaggerated nature of the singing in most opera. Hate the ritual that surrounds it (especially the ripple of gentile laughter at a weak joke that everyone has heard a million times before). But if you can get past that, there's some wonderful music and powerful drama in Britten, Janacek, Berg, Wagner, Puccini, Strauss and so on. Though I wholly agree that opera is disproportionately favoured both by the Beeb and the Arts Council. Strong cultural prejudices there (was it John Tusa who once said that the whining of jazz fans about their music being underrepresented should be ignored?).

Pushing this one up, just in case anyone has any recent suggestions. Especially Seeline, who has wonderful instincts in this area.

Now that does look interesting! I'll be following that up...thanks.

Nice programme. And you have to hand it to Geoffrey Smith for ending the subsequent JRR Valentine Special with Eric Dolphy's 'Straight Up and Down'.

Wonderful voice. Very much associated with the UK 'light entertainment' industry, but some of his hits from the 60s/70s are as much part of the soundtrack of my youth as The Byrds or The Beatles.

Sunrises/sunsets never fail to delight, whether over sea, land or cityscape. Nice shots, Chris. I like those winter woods shots too, alocispepraluger102. The middle one has that nice mix of 'almost' patterned yet quite anarchic. Lovely textures too.

***** Thanks! Really good pics! Great shots....looks not unlike Sheffield!

That's why we worship them round here.

Winter ready to give way to spring. Eh up, me duck!

It's available as a download in the 'Complete Jazz Series' on e-music and amazon (in the UK at least). http://www.amazon.co.uk/Complete-Jazz-Seri...2992&sr=1-1 Still awaiting confirmation on the Chronological Classics thread but these seem to be the JCC in new clothes for the download age. If you don't do downloads, won't be much help. But it is a way to get the music (no discographical info, though).

Saw him last summer - still the same great voice, though he's still doing the same material that I recall from 15 years ago. There are so many. Off the top of my head: Robert Wyatt Joyce Monica Salmaso Rachel and Becky Unthank Sandy Denny Julie Fowlis Christy Moore Andy Irvine Jackie Oates Ulrika Boden Joni Mitchell June Tabor Crosby, Still and Nash Neil Young Chis Wood The Watersons Emmylou Harris Lena Willemark Plenty more...

A more original title than 'Webern's Greatest Hits'.

With this now released it might be time to bumb up this thread: Just to repeat from the 'listening thread': "Disc 1! I actually think listening to music that you didn't have years ago can be more nostalgic than listening to records you've heard again and again for years. Much of the material here turned up on the first HC album. But there's a piece at the end I half recall - I think I recorded a version of it done on a BBC programme (probably Peel) from the radio, before the Legend release. On a long lost cassette. Two songs at the start sound like Caravan!!!! A marvellous Sunday afternoon wallow." Nothing profound but I thought it made sense to keep any discussion of HC here - probably of little interest to the board at large.

Wow! Gonna hafta track this one down... It's on e-music if you do e-music.

Indeed! Treasured vinyl for many years - now in a nice CD reissue with a second album from a later Moholo band.

A fair few new releases have come out on Camjazz since this thread was last added to. Kenny is not as agile or precise as he once was (he is in his late 70s!), but the music remains as lyrical as ever. And he's still doing the free stuff - I saw him a few years back at Evan Parker's Appleby sessions. This one from last year with string quartet islovely:

I think the question largely hinges on production. The great 50s and 60s BN albums SOUND GOOD, whereas digitized jazz doesn't breathe. I love to go hear new jazz live, but must say that I find precious few albums translate the experience of live music into anything I'm compelled to buy. Well, that's a matter of personal taste. I find plenty to enjoy in what you call 'digitised jazz' and get much the same pleasure as I get from an old Blue Note (if Blue Note had been my centre of gravity for 40 years I might feel differently). Very little of what I do enjoy in contemporary jazz, however, is on Blue Note...or Verve...or Warners.

Another good one. Pleased to hear Partisans at the end - the most convincing 'fusion' band of recent years. Thought you'd like that one, Bev, when I heard it! The thing I love about JRR is that in the space of one hour you can hear the Partisans alongside Coleman Hawkins and Albert Nicholas. It's probabably done more to shape (or deconstruct!) my listening than any programme since John Peel in the early 70s! How it has survived in the world of 'target' audiences is a miracle!

The question seems backward to me. Instead of asking why are contemporary audiences wallowing in old music surely we should we be asking why contemporary musicians are not making music to attract contemporary audiences. After all, in the pop world audiences go for the 'now'. Why does an audience looking for a bit more than pop music look backwards? A glance to the classical world should provide some pointers. There's a long history there of new works bewildering audiences (even provoking riots!) yet ultimately becoming mainstream. But the high-culture new music of 50 years ago has still not been accepted by the classical music audience at large (whatever its virtues it remains of interest to other musicians and the more intellectual listener). The new classical music that is being welcomed by the wider audience is villified by the intellectual elite as a retreat from the frontiers. Of course it's not that simple - there is new jazz being made that is getting a wider audience (though not a mass-popular audience). But by and large it is jazz that those who like to sit in judgment feel they should not be choosing to listen to.

Another good one. Pleased to hear Partisans at the end - the most convincing 'fusion' band of recent years.

Well, ok, but that means that Euro-audiences are just as stuck as American ones, only instead of being stuck in the 50s & 60s, they're stuck in the 70s & 80s. I imagine some members of the American AND European audience are stuck in the 20s, 30s, 40s, 50s etc. But, from what I see at concerts and at festivals, there are a substantial number happy to explore the 1920s and the 21st century. To do that you need to go beyond just one label. So I don't imagine there is any one label that really represents these times. And with technology moving at the pace it is, the idea of 'the label' may be a thing of the past.

After a very strange week, weatherwise, a glorious Saturday. Cold enough to keep the surviving snow crisp and attractive. This was the scene just up the road a few hours back: