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Bit off-topic, but how is it that Alyn Shipton is for me THE ideal R3 presenter?
Less is more, understated, quiet, no me-me-me, seriously knows his stuff BUT reveals that vast knowledge in polite, undemonstrative terms.
Just says what needs to be said, and that's that
A R3 jewel.
Because when Alyn has nothing to say, he doesn't say it?
Little Walter - "Blue and Lonesome" First take, Chess Records, 1959.
Glorious, with guitar by Luther Tucker & Robert Lockwood. The reverb is the making. Don't miss the studio intro/ spoken track call...every word is true.
‘No Room for Squares’
Hank Mobley with Lee Morgan, Andrew Hill, John Ore & Philly Joe Jones
+ with Donald Byrd, Herbie Hancock, Butch Warren & Philly Joe Jones
Blue Note (1963)
Elton Dean Quartet - The Bologna Tapes (Ogun, 1985): Elton just on saxello, with Harry Beckett, Nick Evans, Marcio Mattos and Liam Genockey. Iirc this quartet was doing some sort of world tour around this time, and Paul Rutherford took the trombone role for some dates.
This kind of free jazz is a reminder that the music need not be po-faced - a useful gateway for those unconvinced unless presented with a definitive opening statement: side 1 contains some hilarious improvising courtesy Evans, where he come on all mock-imperious, a jocular Roswell Rudd, making maximum use of the mike by alternating between almost smothering it and retreating. In other places one is predisposed to just follow wherever initial musings lead: side 1 settles for what can easily be heard as a medium tempo 4/4 with interruptions where whoever the frontliner is ups the ante, and the rhythm decides whether or not this marks a change (where a straight ahead session would have him sticking to the "script") with the listener on tenterhooks; side 2 starts out feeling a cautious way until a stuttery phrase from Elton is enjoined by all, leading to a complex albeit retrained solo from Liam that manages to incorporate all the rhythmic sub-threads - how do some drummers do this? do they have compartmentalised brains? - before Elton's saxello releases all the tension and the performance proceeds as an amiable exchange of viewpoints to a peaceful close.
Little Walter - "Blue and Lonesome" First take, Chess Records, 1959.
Glorious, with guitar by Luther Tucker & Robert Lockwood. The reverb is the making. Don't miss the studio intro/ spoken track call...every word is true.
I just bought the July edition of The Wire magazine, having discovered my nearest WH Smiths, 2 miles away, to stock it. I also treated myself to the latest Jazzwise, wanting to find out how today's crop of journalists deal with the music, not having read the mag for a few years now. I, er, hadn't realised The Wire to be monthly, having remembered it as coming out bi-monthly, but it was a nice bike ride and I enjoyed tea and chocolate-coated ginger biscuits in the back garden of a friend who joins me for visits to The Vortex and Café Oto. I ate most of the biscuits as they were threatening to melt into mystical oneness with the plate under the hot sun!
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