Originally posted by RichardB
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I don't know any of his music under his own name but his contribution to this record and this song in particular is awesome:
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The John Surman Trio - Live in Altena 1970
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I can't see what that is!Originally posted by Joseph K View Post
BTW I followed up Barre Phillips with Abercrombie's Gateway. I guess you know that album. If you don't I think you would like it a lot.Comment
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Richard B, it's 'Binky's Beam' by John McLaughlin - https://www.youtube.com/watch?v=tFK_m7IAKcE
Yes, I ought to purchase Gateway - only ever heard live tunes on youtube (the album is not available on youtube) by Abercrombie.Comment
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Miles Davis with George Coleman, Herbie Hancock, Ron Carter & Tony Williams(17!) playing 'Autumn Leaves' live at Monterey, September 20, 1963:
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Mark Stryker analysis in 'Jazz Times' of his favourite KD solo on "It could happen to you" from the 1961 album Inta Somethin - great choice.Originally posted by BLUESNIK'S REVOX View Post
elmoComment
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Just got back from Doha and had the chance to listen to some more jazz on the Qatar Airways play list again whilst flyng back. The Horace Tapscott record had disappeared from the play list but there was another Jane Ira Bloom record which I felt made a compelling case for her being one of the most inspired "post-Coltrane" alternatives to the soprano saxophone. I missed quite a bit of the whole sepctrum of jazz in the 1980s and 90s as there was so much going on that it was not possible to keep track of everything. To my ears, i feel that a lot of jazz from this era has subsequently become under-appreciated. I really enjoyed Thomas Chapin's "I've got your number" this afternoon yet feel that he was one of those musicians who is over-looked by a good number of jazz fans. There are also players like Arthur Blythe who produced an exceptional body of work yet no longer seem on the tip of everyone's tongue these days when considering great alto players. I sometimes think that the potency of jazz has diminished in the 2000s. Listening to some of these Arabesque label recordings it is frightening to realise just how much the scene has changed since then.
The least impressive album on the play list was Brad Mehldau's "Jacob's Ladder" which is just about the most wretched thing I have heard him produce. It is a mish-mash of music inspired by Progressive Rock and features vocals which I could not really appreciate were mult-tracked or a choir. I loved Mehldau's earlier trio records initially but, picking up the comment about Jan Garbarek earlier in this thread, for me there was a point where both musicians were on point. "Jacob's Ladder" , on the other hand, seems to have very little to do with jazz and seems yet another addition to a growing number of ill-judged projects. I am really sorry to say that he has become a musician whose work I can no longer tolerate. "Jacob's Ladder" is a million miles away from the works of say Andrew Hill, Muhal Richad Abrams and Horace Tapscott whose approach is far more to my current taste. I wish I was more aware of this stuff which has stood the test of time instead of listening to some of the stuff which seemed so significant in thr 80s and 90s. I quickly sussed Jan Garbarek out and I think there is probably a period between early 70s and mid 80s when he was interesting . Outside this period is either sounds like a second rate Albert Ayler or someone producing New World music.
It does make you wonder how some musicians will be remembered for posterity. I can imagine that Garbarek has a much diminished following than when I first listened to his these days. Shame that someone so excpetional for such a short period should lost his way. I feel the same about Mehldau - he is very much the most influential pianist in jazz since the mid 1990s but you wonder how his reputation in the future would compare to the kind of work produced by, say, Matthew Shipp during the same period ? To return to the ECM catalogue, i get the marmite comparison although I think it is a label that has, on the whole, really delivered. However, I think that they have issued loads of prentious records where the sessions do not feel like they have got off the ground. I agree with Richard's comments about John Abercombie - for me the most consistent of all the more "orthodox" jazz musicians on their roster and maybe only rivalled by Dave Holland's work for Eicher.
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I was blown away by the piano solo on this track. This is the kind of jazz piano I loved to hear and increasingly I am finding that players who deviate from this kind of style are less appealing to my ears. It is a sign of jazz's strength that the music can accommodate players as diverse as this and say someone like Tord Gustavsen yet , in my mind, the playing of Tapscott is what the music should be about whereas I just feel that players like Gustavsen, Mehldau, Esbbjorn Svensson and a host of ECMer's have lost touch with what some might consider to be the "core values"of the music. This is how I would like jazz to sound.....
Listening to this, it just feels that it is time for jazz to recalibrate.
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Horace Tapscott did another fine album for the Arabesque label 'Thoughts of Dar Es Salaam' - here is 'Sandy and Niles'Originally posted by Ian Thumwood View PostI was blown away by the piano solo on this track. This is the kind of jazz piano I loved to hear and increasingly I am finding that players who deviate from this kind of style are less appealing to my ears. It is a sign of jazz's strength that the music can accommodate players as diverse as this and say someone like Tord Gustavsen yet , in my mind, the playing of Tapscott is what the music should be about whereas I just feel that players like Gustavsen, Mehldau, Esbbjorn Svensson and a host of ECMer's have lost touch with what some might consider to be the "core values"of the music. This is how I would like jazz to sound.....
Listening to this, it just feels that it is time for jazz to recalibrate.
elmoComment
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Idon't know what happened to Arabesque as they appear to exist but I have not been aware of any output. It is a shame that Horace Tapscott is ,more well known although i believe that his involvement in jazz education and civils rights led him to be a cult figure in California. He was hughly repsected locally and within the jazz community. i onpy have one f his records which is a live quartet sessoon with Sonny Simmons called "Amongst friends" which trasncends the rather familiar programme of jazz standards.Comment
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Today's Autumn Equinox coincides with what would have been John Coltrane's 96th birthday(September 23).
So here's Coltrane's haunting 'Equinox' recorded in 1961 with McCoy Tyner, Steve Davis & Elvin Jones:
JRComment
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Here's a Tapscott solo piano piece, 'A Dress For Renee', from the great 1989 album 'The Dark Tree':Originally posted by Ian Thumwood View PostI was blown away by the piano solo on this track. This is the kind of jazz piano I loved to hear and increasingly I am finding that players who deviate from this kind of style are less appealing to my ears. It is a sign of jazz's strength that the music can accommodate players as diverse as this and say someone like Tord Gustavsen yet , in my mind, the playing of Tapscott is what the music should be about whereas I just feel that players like Gustavsen, Mehldau, Esbbjorn Svensson and a host of ECMer's have lost touch with what some might consider to be the "core values"of the music. This is how I would like jazz to sound.....
Listening to this, it just feels that it is time for jazz to recalibrate.
JRComment
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