Let's all Getz Ottilie's toned

[Serial_Apologist]

Sat 13 July
4pm - Jazz Record Requests
Alyn Shipton introduces jazz records, as requested by Radio 3 listeners. Music comes from Dizzy Gillespie, Stan Getz and Ottilie Patterson.

http://www.alynshipton.co.uk/blog

5pm - J to Z
Highlights of a concert in which saxophonist Denys Baptiste and his quartet reimagine the music of John Coltrane's groundbreaking late period - characterised by visceral emotions and cosmic references. And Cuban pianist Alfredo Rodriguez shares his musical influences.

Just wondering about Denys being the best person for this tribute, fine player though he definitely is, bur maybe more of a Joe Henderson than a Coltrane man; but we'll see...

http://www.bbc.co.uk/programmes/m0006sbw

12midnight - Geoffrey Smith's Jazz

This a repeat of the Ahmad Jamal programme.

http://www.bbc.co.uk/programmes/b01qwgnk

Mon 15 July
11pm - Jazz Now
Soweto Kinch presents a concert by the Belgian-French trio Hermia Ceccaidi-Darrifourcg at the Cheltenham Jazz Festival, in which Quentin Biardeau replaced saxophonist Manuel Hermia.

I'm wondering if Ian knows anything about this group from his travels?

http://www.bbc.co.uk/programmes/m0006ssn

There is some Icelandic jazz from the Mikael Mani Trio on Thursday 18th's Late Junction, sometime between 11 and 12.30 pm. No one will say music from the deep underground unless I do.

[BLUESNIK'S REVOX]

Sat 13 July
4pm - Jazz Record Requests
Alyn Shipton introduces jazz records, as requested by Radio 3 listeners. Music comes from Dizzy Gillespie, Stan Getz and Ottilie Patterson.

http://www.alynshipton.co.uk/blog

5pm - J to Z
Highlights of a concert in which saxophonist Denys Baptiste and his quartet reimagine the music of John Coltrane's groundbreaking late period - characterised by visceral emotions and cosmic references. And Cuban pianist Alfredo Rodriguez shares his musical influences.

Just wondering about Denys being the best person for this tribute, fine player though he definitely is, bur maybe more of a Joe Henderson than a Coltrane man; but we'll see...

http://www.bbc.co.uk/programmes/m0006sbw

12midnight - Geoffrey Smith's Jazz

This a repeat of the Ahmad Jamal programme.

http://www.bbc.co.uk/programmes/b01qwgnk

Mon 15 July
11pm - Jazz Now
Soweto Kinch presents a concert by the Belgian-French trio Hermia Ceccaidi-Darrifourcg at the Cheltenham Jazz Festival, in which Quentin Biardeau replaced saxophonist Manuel Hermia.

I'm wondering if Ian knows anything about this group from his travels?

http://www.bbc.co.uk/programmes/m0006ssn

There is some Icelandic jazz from the Mikael Mani Trio on Thursday 18th's Late Junction, sometime between 11 and 12.30 pm. No one will say music from the deep underground unless I do.

Good JRR coming up for those with similar tastes to mine...Pepper, Getz, Newborn, Gillespie et all. And Ric Colbeck, there's a story. No sign of my Coltrane/Kenny Burrell duo request, I think my email account was corrupted. I ONLY mention this because the Kenny Burrell health/financial appeal is starting to look somewhat "odd". The Washington Post did a long investigation into it recently. No idea of the rights and wrongs but all very strange and unfortunate, not least for Kenny.

BN.

[Serial_Apologist]

Something's gone wrong with mine at the mo - can't send any emails.

All very strange.

[BLUESNIK'S REVOX]

Something's gone wrong with mine at the mo - can't send any emails.

All very strange.

My phone/email (Gmail) was hacked via India! All redirected via some guy out there. Now using a system that's supposedly encrypted by CERN. That'll learn 'em.

BN.

[BLUESNIK'S REVOX]

My phone/email (Gmail) was hacked via India! All redirected via some guy out there. Now using a system that's supposedly encrypted by CERN. That'll learn 'em.

BN.

A bit of background on Ric Colbeck (who appears to.have led quite a life, if brief).

Richard Williams28 October 2011 at 04:06
I don't have a copy of this (Melody Maker interview) and hadn't seen it since the day it was published, so it's interesting to read his comments about Coltrane, New York etc. He was a slightly odd guy -- or at least he seemed so in the context of the London free jazz scene of 1969/70. He wore a very expensive pair of tan leather trousers, for a start. That made some people a bit suspicious. And there was a hint of impatience and arrogance about him that the London-based musicians didn't have: the result of hustling in NYC, no doubt. John Jack (who then promoted the Crucible gigs and now runs Cadillac) spent time with him, and produced the (Sun) album. I wish I still had a copy. Never been reissued on CD, to my knowledge, even as a boot. Oh, and Jean-Francois Jenny Clark was a monster bass player (as we used to say).

One comment from someone unnamed, who appears to have played on the record or produced it..."Ric Colbeck was a complete idiot. He was drinking himself to death and drank all through the record". Them was the days.

BN.

[Serial_Apologist]

Really good kick off to J to Z with keyboardswoman Rebecca Nash's Atlas, reminding me that I courted her recommendation yonks ago here when writing up new London jazz in Dee Byrne's Entropi. Rebecca routes that late 1960s/early '70s era when free was heading into fusion before becoming over-formulated, an area still full of unrealised possibilities without going down the doom metal jazz of Jim Black's in this context ironically-named Alas No Atlas direction, (see Ian's Vienne thread). Writing this, I missed Julian's next announcement, but this sounds interesting and bursting with fresh ideas too.

[Jazzrook]

A bit of background on Ric Colbeck (who appears to.have led quite a life, if brief).

Richard Williams28 October 2011 at 04:06
I don't have a copy of this (Melody Maker interview) and hadn't seen it since the day it was published, so it's interesting to read his comments about Coltrane, New York etc. He was a slightly odd guy -- or at least he seemed so in the context of the London free jazz scene of 1969/70. He wore a very expensive pair of tan leather trousers, for a start. That made some people a bit suspicious. And there was a hint of impatience and arrogance about him that the London-based musicians didn't have: the result of hustling in NYC, no doubt. John Jack (who then promoted the Crucible gigs and now runs Cadillac) spent time with him, and produced the (Sun) album. I wish I still had a copy. Never been reissued on CD, to my knowledge, even as a boot. Oh, and Jean-Francois Jenny Clark was a monster bass player (as we used to say).

One comment from someone unnamed, who appears to have played on the record or produced it..."Ric Colbeck was a complete idiot. He was drinking himself to death and drank all through the record". Them was the days.

BN.

https://galacticramble.blogspot.com/2011/10/ric-colbeck-player-of-exceptional-power.html?m=1

JR

[BLUESNIK'S REVOX]

https://galacticramble.blogspot.com/...power.html?m=1

JR

Yes, many thanks for that. I should have put the link in for the full thing.

The Dennis Baptiste "Late Trane" impresses (J to Z). Difficult to impose yourself on that "iconism" without sounding like a clone or losing the connection. I think he and the band do very well. Enjoying it.

BN

[Serial_Apologist]

I have the The Sun Is Coming Up recording on a CD Calum da Jazzbo sent me, having asked if I had heard of the trumpeter (I said no) - an incredibly generous act, but I can't remember if he said how he got hold of the original. Presumably he had the vinyl and was able to transcribe it via his computer and burn me a CD - if so the recorded quality is enviable. Calum photocopied John Jack's liner to the album, which may take some time for me to type up for here, but I'll do it later or tomorrow.

Thanks to Jazzrook and Bluesnik for all the above: the emailed responses to Williams's blog item from 2011, especially from those close to Rick and family members, are fascinating, to say the least! I'm reminded of Gary Windo, a saxophonist I'd thought of as being American when he came over and worked alongside Keith Tippett, Robert Wyatrt, Mongesi Feza, Hugh Hopper, Ray Russell and others, though in fact he was born in Brighton, and emigrated to the States, where he wiorked with Paul Butterfield among others before being thrown out in '69. He and his wife Pam (still living) returned to America in 1979, where he died in 1992, I think. One wonders if the two ever crossed paths - Gary and Rick sound like very similar spirits.

[Ian Thumwood]

Really good kick off to J to Z with keyboardswoman Rebecca Nash's Atlas, reminding me that I courted her recommendation yonks ago here when writing up new London jazz in Dee Byrne's Entropi. Rebecca routes that late 1960s/early '70s era when free was heading into fusion before becoming over-formulated, an area still full of unrealised possibilities without going down the doom metal jazz of Jim Black's in this context ironically-named Alas No Atlas direction, (see Ian's Vienne thread). Writing this, I missed Julian's next announcement, but this sounds interesting and bursting with fresh ideas too.

This record sounded pretty decent but Fusion is still a risky business. Chatting with someone last week about what constitutes "contemporary" it is quite apparent that the introduction of technology in to music is opening doors which many people are seeing as the future of jazz. The pianist Julien Dewaele performed a solo set where the instrument was heavily manipulated and distorted with all sorts of loops and extraneous noises being generated. To pick up on SA's comments about what is interesting and bursting with ideas, this fits the bill (sorry, no Youtube link available) and maybe can be seen as an extension of what Herbie was doing in the early 1970s. I think it probably has more to do with contemporary classical music. Conversely, you can get the likes of Tom Mitsch who is borderline pop and seemingly nothing to do with jazz. The technology available in 2019 is significantly more advanced than what was available in the heyday of fusion and I feel that the "advances" in fusion have perhaps originated more as a consequence of newer technology and software. Musicians can now do thing which would have been unimaginable 20 years ago.

Oddly enough, the review of the Paul Jarret gig made a remark about Jim Black starting to teach at an American college the same year the French-Swedish guitarist was born. Black has materialised on albums other than the likes of "Alas no axis" although I have always felt there is something about his playing which owes more to Nirvana than a lot of jazz. He is rather like Rypdal insofar that he sounds like a rock musician but works in a jazz context. The quartet with Jarret was fascinating and reflected a very contemporary approach to fusion which was a marked contrast with the vastly over-rated Snarky Puppy who offer a more polished form of fusion which lacks the bite of Jarret's approach. I like my jazz to have an edge-of-the seat quality about it and the smoothness of so much fusion means that a lot of it does not appeal to me. This goes for me as much as with contemporary groups as bands from the 70's. Fusion / jazz-rock is a risk. I like it when there is an element of danger in the music but am bored when the musicians are smugly self-satisfied with themselves as is the case with Snarky Puppy. It can be something that is all about showing off technique or trying to make an instance impression. (Probably the least appealing fusion band I have heard live is Chick Corea's Electric band when he had Frank Gamble on guitar and the music had all the appeal of a workout at the gym.) Therefore, the sometimes introverted music of Jarret and Black that pulled you in and made your listen is far better than being battered by volume.

Jazz-rock / fusion has always seemed comparable to the kind of jazz produced by the big bands in the Swing Era. There is a lot of good music to be heard whilst there are probably as many moments when the music can lose perspective in its taste as well as being prone to become as synonymous with a particular era as Glenn Miller. At the end of the day, I think it is the quality of the music which counts and therefore the music should be more about how the musician can express himself as opposed to what the technology he has allows his to do. You increasingly see laptops materialising on stages (I first saw this with Herbie in 2001) and just think that you need to exercise care with Fusion simply because the innovations being forged in this oeuvre often seem more about the technology than traditional instruments. This probably culminated in the performance by Ikue Mori who performed a Zorn Bagatelle on the last gig I went to whilst sat at a laptop.

For what it is worth, I think the subject of technology being available to jazz musicians is probably worth a thread of it's own. It would be interesting to read Richard Barrett's take on this. I can appreciate the possible innovations but am mindful that a lot of musicians are unlikely to be as engaged with the avant garde as they are with EDM / Rap / pop / whatever. I feel that technology and for that part, fusion could be a slippery slope especially as some are viewing this kind of music as today's "cutting edge."

[Jazzrook]

Just noticed, 'Sunday Feature: Cold War in Full Swing - Louis Armstrong in the GDR' presented by Kevin Le Gendre on Radio 3 today at 6:45pm.
Followed by: "Maxine Peake performs Percy Bysshe Shelley's poem of protest following the Peterloo massacre which happened in Manchester 100 years ago on 16 August 1819."

JR

[BLUESNIK'S REVOX]

Just noticed, 'Sunday Feature: Cold War in Full Swing - Louis Armstrong in the GDR' presented by Kevin Le Gendre on Radio 3 today at 6:45pm.
Followed by: "Maxine Peake performs Percy Bysshe Shelley's poem of protest following the Peterloo massacre which happened in Manchester 100 years ago on 16 August 1819."

JR

Looks good, and not taking anything away from Peterloo, but the Merthyr Rising of 1831 was perhaps even more significant, a genuine working class uprising, pre Marx, pre the Paris Commune, and with a greater number of deaths than Peterloo.

"Some 7,000 to 10,000 workers marched under a red flag, which was later adopted internationally as the symbol of communists and socialists. For four days, magistrates and ironmasters were under siege in the Castle Hotel, and the protesters effectively controlled Merthyr.

For eight days, Penydarren House was the sole refuge of authority. With armed insurrection fully in place in the town by 4 June, the rioters had commandeered arms and explosives, set up road-blocks, formed guerrilla detachments, and had banners capped with a symbolic loaf and dyed in blood. Those who had military experience had taken the lead in drilling the armed para-military formation, and created an effective central command and communication system."

Way to go!

EP Thompson is v. good on Peterloo and Shelly's Mask of Anarchy poem. ("History of the English Working Class")

BN.

[Jazzrook]

Looks good, and not taking anything away from Peterloo, but the Merthyr Rising of 1831 was perhaps even more significant, a genuine working class uprising, pre Marx, pre the Paris Commune, and with a greater number of deaths than Peterloo.

"Some 7,000 to 10,000 workers marched under a red flag, which was later adopted internationally as the symbol of communists and socialists. For four days, magistrates and ironmasters were under siege in the Castle Hotel, and the protesters effectively controlled Merthyr.

For eight days, Penydarren House was the sole refuge of authority. With armed insurrection fully in place in the town by 4 June, the rioters had commandeered arms and explosives, set up road-blocks, formed guerrilla detachments, and had banners capped with a symbolic loaf and dyed in blood. Those who had military experience had taken the lead in drilling the armed para-military formation, and created an effective central command and communication system."

Way to go!

EP Thompson is v. good on Peterloo and Shelly's Mask of Anarchy poem. ("History of the English Working Class")

BN.

Was never taught about the 1831 Merthyr Rising(or Peterloo for that matter) at school, BN.
I believe there's a good book about it by Gwyn A. Williams which I'll have to seek out.

JR

[BLUESNIK'S REVOX]

Really excellent, as are all his writings. Hugely admired academic, activist and human being. Much missed.

[Serial_Apologist]

Just noticed, 'Sunday Feature: Cold War in Full Swing - Louis Armstrong in the GDR' presented by Kevin Le Gendre on Radio 3 today at 6:45pm.
Followed by: "Maxine Peake performs Percy Bysshe Shelley's poem of protest following the Peterloo massacre which happened in Manchester 100 years ago on 16 August 1819."

JR

Thanks for this - I heard the Louis Armstrong prog announced on the wireless yesterday night and then promptly forgot to raise it on here!