Rabshakeh

I hadn't realised Eno was in on it too. The one who gets most coverage over here in Britain is Ian Brown, a singer from an iconic Manchester group called the Stone Roses, who really has really flipped a fuse. I'm not sure how well known he is in the States, but the pandemic really has got to him. He makes Van Morrison look tame. Didn't know that either, but I guess it squares with the rest of his political views. I wonder how he's finding the visa issues post Brexit.

It never troubled me - Just a couple of dopey science fiction themes to ignore. Lenny White's records would have had much worse album artwork if they weren't all members of the "Church". From my point of view, scientology is far down my list of things that would upset my listening habits. Compare to the basic facts of Al Haig's or Art Pepper's biographies.

What a jumper! Magnificent.

Murray's a good example of someone who moved with the times and the labels: from India Navigation, to Black Saint to DIW. I tend to reach for his Black Saint stuff, but his DIW records are a good example of that sort of approachable music that found a place in the mainstream jazz consciousness whilst retaining its vanguard heritage.

https://laplateforme-sonsdhiver.org/crea-parker/ Oh well. This epidemic is sending us all around the bend a bit. Probably not a link to click on if you are a big Evan Parker fan.

Now on to Max Bennett's HENCE! Home You idle creatures, get you home: and lend an ear to ... (Bethlehem, 1956). Move over, Reid Miles.

There don't seem to be any threads on either of these two record labels (or at least I couldn't see any when searching). Despite their different geographic bases, they both had an ecumenical conception of jazz that ignored the rather tired polemics of the time. Both labels put out a steady stream of high quality records that straddled the gulf between camps. They released what was basically listenable and attractive forward-thinking jazz that could be enjoyed by mainstream audiences that might have been intimidated by the reputations of Cecil Taylor, Charles Gayle or Anthony Braxton. In doing so, they launched new careers and rehabilitated old ones. To my ears, these semi-avant (for want of a better term) labels of the late 80s/early 90s have a sound that is as distinguishable as ECM's. When I was getting into jazz, in the late 90s, these two labels seemed to be the go-to labels for high quality albums in the previous decade, and i used to see their records recommended a lot. Despite that, they and their rosters seem to have sunk out of sight a little bit when compared to what came immediately before (Soul Note, HatHut, etc) or after. So, any thoughts on them and the place that they occupied in the jazz ecosystems of the period? What are your favourite releases from these two labels (or any other similar labels of the late 80s / early 90s that I may have missed)?

Some nice records in here. I'm going to try to get my choices in.

Just listened to: Huseyin Ertunc Trio's Musiki (Intex, 1974). Basically another Musra / Cosmic brothers record, but with Ertunc's drumming to the fore. And it really is to the fore. He might be one of the most maximalist drummers ever. There's not a whole lot of space on this record. This is not a Tyshawn Sorry album.

I've got Celia and Johnny on in the background as I make coffee. I've never met a person who didn't love that record. If I ever do, I'll be getting the Voight-Kampff test out immediately.

Oh no.

The non-Bailey one is pretty incredible too. Along with the bass saxophone and Sanders' drumming there's the soup of electronics and steel drum.

Thanks!

Is there one in particular which you would recommend?

Sounds like sad news today, not sure whether fully confirmed yet.

RIP. It's been impressive to see the coverage it has generated both in traditional media and on social media.

Is this the start of a new blog? Can't wait.

I think it might be the one that is discussed in Notes and Tones, dismissively, if I recall. On the Edit: See below. Not dismissive. Not effusive.

What a great cover it has. Now listening to: Wadada Leo Smith - Ten Freedom Summers (Cuneiform, 2012) Someone told me this is the highest ranked record of all time on Metacritic. That makes sense, I guess, because it is really really good, but I am trying to imagine the average music listener coming across it.

Nice one. I'm hoping with the new BAG film out there might be a bit more of a focus on Carroll and... maybe even some reissues...?

Bush Baby (Adelphi, 1978) by Black Arthur Blythe, as he was billed on the cover. Coming off the tuba chat of the last few days, really. My favourite of the earlier Blythes. It strikes me that, if ever asked what the term "Loft Jazz" refers to, one could hardly do better than to just put this record on.

It seems odd, doesn't it? If you have a tuba, why not use it? It's not like there was no history of tuba in jazz. I wonder whether part of it was imaginative / aesthetic resistance to the New Orleans revival, which I suppose was still going at that time and might have been something with which a younger player in the '50s might not have wanted to be associated.

Thanks. I actually knew the Dr John record, but had never stopped to check the cast out.

I'd never heard of this one until this weekend. I've played it a couple of times since - this and the Live in New York duet with Mr. Wadud. It's really fantastic stuff.

New Horizens by Sounds of Liberation (Dogtown, 1972). Inspired by the Byard Lancaster chat a few weeks back. One of his and Khan Jamal's best. Sadly, not on the original vinyl (I'd recommend a stiff drink before checking that one on Discogs).