Isn't Rochford in Esex? Nah, he's on Radio Freeness.

[Alyn_Shipton]

S-A I am amazed Dorothy Ashby was a new name to you - great collaborations with Sonny Criss and Stanley Turrentine. Can't say I'm a Sloth Racket fan. Mostly racket, quite a bit of sloth and probably some of the ugliest sounds I've ever heard in a live gig. The kind of thing that gives jazz a bad name, specially among those who are new to the music.

[Ian Thumwood]

S-A I am amazed Dorothy Ashby was a new name to you - great collaborations with Sonny Cross and Stanley Turrentine. Can't say I'm a Sloth Racket fan. Mostly racket, quite a bit of sloth and probably some of the ugliest sounds I've ever heard in a live gig. The kind of thing that gives jazz a bad name, specially among those who are new to the music.

All of which put me in mind of this recent record review on Jazztimes…

https://jazztimes.com/reviews/albums/led-bib-its-morning-rarenoise/

The clips on the Sloth Racket website are horrible, I am afraid - beard-scratching, pseuds corner sh/te.

Dorothy Ashby is one of those names you hear from time to time but really gets much attention. I think she might have been the harpist on the Oscar Pettiford big band record. I would have to admit that what I had previously heard seems pretty polite, 1950s modern jazz but the track selected on J-Z was fascinating. I don't think I have ever heard anyone produce blue notes like that on any recording with a harp. It would be interesting to understand how she produced those sounds. The musicians and orchestra are allegedly uncredited n that disc but the arrangements were by Richard Evans who I have never heard of but this interview with him is fascinating and discusses his origins from working with Sun Ra onwards. There is quite a lot of info about Dorothy Ashby too and the record played on the radio tonight.

https://www.waxpoetics.com/blog/features/articles/bassist-turned-arranger-richard-evans-put-soul-cadet-records/

[Ian Thumwood]

The Snarky track played just now reminded me more than anything else of the sort of car chase music Laurie Johnson composed for The Professionals back in the mid-1970s.

I turned the football report off after coming back from another defeat (at least not 9-0 this time, though) and caught some of the Snarky Puppy set. The tune "Gemini" was catchy enough (although not as good as the tune by the same title by the great Jimmy Heath) but I was curious to listen again at how the keyboards worked. There were about three different keyboard players on the track and some credit must be due to the combination not muddying the harmony. It is noticeable that the organ was almost used as a string section to lay down the harmonies whilst the electric keyboard soloed and, if you are new to jazz or improvised music, this must really be useful to picking your way through the "difficult" improvised element. However, in my personal opinion, I quite like harmonic ambiguity and felt that this seemed to make the music for of an "easy listen."

I agree with BD's remark about the band being "genre busting" as they are not really doing much more than what was considered as "commercial" in the 1970s. Given the state of contemporary pop music, you can understand the appeal but the Donny Hathaway track was quite a good comparison because it struck me as being more exciting and "in the moment" than the SP live performance. Had this been recorded in the 1980s, I would argue that SP are perilously close to being Smooth Jazz. I am struggling to see what the fuss is about them but I would have thought they are totally off the radar for anyone over 40. I quite like "Thrust" (worth the album for "Actual proof") and Laurence's perception of Hancock's concept is spot on. Amongst all the funk, Herbie's harmonic language and sense of form raises the music a good many bars above SP. I think the tune I heard was just a 4 or 8 par riff played over and over again.

[Jazzrook]

All of which put me in mind of this recent record review on Jazztimes…

https://jazztimes.com/reviews/albums/led-bib-its-morning-rarenoise/

The clips on the Sloth Racket website are horrible, I am afraid - beard-scratching, pseuds corner sh/te.

Dorothy Ashby is one of those names you hear from time to time but really gets much attention. I think she might have been the harpist on the Oscar Pettiford big band record. I would have to admit that what I had previously heard seems pretty polite, 1950s modern jazz but the track selected on J-Z was fascinating. I don't think I have ever heard anyone produce blue notes like that on any recording with a harp. It would be interesting to understand how she produced those sounds. The musicians and orchestra are allegedly uncredited n that disc but the arrangements were by Richard Evans who I have never heard of but this interview with him is fascinating and discusses his origins from working with Sun Ra onwards. There is quite a lot of info about Dorothy Ashby too and the record played on the radio tonight.


https://www.waxpoetics.com/blog/feat...cadet-records/

Dorothy Ashby with Frank Wess, Herman Wright & Roy Haynes from the 1958 album 'In A Minor Groove':

https://www.YouTube.com/watch?v=C97ct9UQcaM

JR

[elmo]

I turned the football report off after coming back from another defeat (at least not 9-0 this time, though) and caught some of the Snarky Puppy set. The tune "Gemini" was catchy enough (although not as good as the tune by the same title by the great Jimmy Heath) but I was curious to listen again at how the keyboards worked. There were about three different keyboard players on the track and some credit must be due to the combination not muddying the harmony. It is noticeable that the organ was almost used as a string section to lay down the harmonies whilst the electric keyboard soloed and, if you are new to jazz or improvised music, this must really be useful to picking your way through the "difficult" improvised element. However, in my personal opinion, I quite like harmonic ambiguity and felt that this seemed to make the music for of an "easy listen."

I agree with BD's remark about the band being "genre busting" as they are not really doing much more than what was considered as "commercial" in the 1970s. Given the state of contemporary pop music, you can understand the appeal but the Donny Hathaway track was quite a good comparison because it struck me as being more exciting and "in the moment" than the SP live performance. Had this been recorded in the 1980s, I would argue that SP are perilously close to being Smooth Jazz. I am struggling to see what the fuss is about them but I would have thought they are totally off the radar for anyone over 40. I quite like "Thrust" (worth the album for "Actual proof") and Laurence's perception of Hancock's concept is spot on. Amongst all the funk, Herbie's harmonic language and sense of form raises the music a good many bars above SP. I think the tune I heard was just a 4 or 8 par riff played over and over again.

I have played quite a number of tracks by SP on youtube and I certainly can't get excited by this kind of music. It has none of the raw power of the best Rock music and none of the improvisatory daring of the best Jazz. It is a dreary update of 70's fusion - conventional and dull.

Much more interesting is the music Corey Mwamba is playing on his programme tonight, last week and tonight's programme have been really good.

Bargain of the year for me, found a mint copy of JSP 5 CD set of Jelly Roll Morton classic 1926-1930 tracks for just less than 3 quid .......Result.

elmo

[Ian Thumwood]

I have played quite a number of tracks by SP on youtube and I certainly can't get excited by this kind of music. It has none of the raw power of the best Rock music and none of the improvisatory daring of the best Jazz. It is a dreary update of 70's fusion - conventional and dull.

Much more interesting is the music Corey Mwamba is playing on his programme tonight, last week and tonight's programme have been really good.

Bargain of the year for me, found a mint copy of JSP 5 CD set of Jelly Roll Morton classic 1926-1930 tracks for just less than 3 quid .......Result.

elmo

Elmo

I have been listening to the JSP set of Armstrong Hot 5 and 7 all week. The sound remastering on JSP is amazing but the music is something of a revelation for me because there is a lot on this 4-CD set which is unfamiliar. I am really enjoying the music on it and find it fascinating. The JRM box set is usually retaining at around £15 which is still good value for money. Again, a lot of the tracks look unfamiliar and I may be tempted.

I always find JRM to be fascinating. The RHP tracks are so complex, I fact I never appreciated until I read Schuller's account of the music. The use of form and rhythm is staggeringly inventive and I seriously wonder whether Henry Threadgill is a Morton fan too when I hear some of his groups too- the same complexity of rhythm and use of instrumentation.

[Jazzrook]

Elmo

I have been listening to the JSP set of Armstrong Hot 5 and 7 all week. The sound remastering on JSP is amazing but the music is something of a revelation for me because there is a lot on this 4-CD set which is unfamiliar. I am really enjoying the music on it and find it fascinating. The JRM box set is usually retaining at around £15 which is still good value for money. Again, a lot of the tracks look unfamiliar and I may be tempted.

I always find JRM to be fascinating. The RHP tracks are so complex, I fact I never appreciated until I read Schuller's account of the music. The use of form and rhythm is staggeringly inventive and I seriously wonder whether Henry Threadgill is a Morton fan too when I hear some of his groups too- the same complexity of rhythm and use of instrumentation.

Air playing JRM's 'Buddy Bolden's Blues' from the 1979 album 'Air Lore'(Bluebird/RCA):

https://www.YouTube.com/watch?v=Q_vqkpAfolw

JR

[BLUESNIK'S REVOX]

Not on point, but Wayne Shorter is on Twitter...here talking about Lester:

Wayne Shorter
@Wayne_Shorter
·
8 Nov
And he never made a false move. If somebody came into a room to surprise you or upset a household, he’d be the last one to turn around. Not deliberately or trying to be cool. Eventually he’d turn around and say, “Heyyy what’s happenin’” or “Don’t you belong in the hospital?

[BLUESNIK'S REVOX]

Re today's JRR, here's Ms Betty Carter doing it...(The Trolley Song) from "An audience with".

http://youtu.be/5kIJJkWKwLI

BN.

[elmo]

Elmo

I have been listening to the JSP set of Armstrong Hot 5 and 7 all week. The sound remastering on JSP is amazing but the music is something of a revelation for me because there is a lot on this 4-CD set which is unfamiliar. I am really enjoying the music on it and find it fascinating. The JRM box set is usually retaining at around £15 which is still good value for money. Again, a lot of the tracks look unfamiliar and I may be tempted.

I always find JRM to be fascinating. The RHP tracks are so complex, I fact I never appreciated until I read Schuller's account of the music. The use of form and rhythm is staggeringly inventive and I seriously wonder whether Henry Threadgill is a Morton fan too when I hear some of his groups too- the same complexity of rhythm and use of instrumentation.

Ian

I do have the Armstrong JSP Box and agree it is such great music and the remastering makes it indispensable. I have started dipping into the JRM box and as you say regarding the Armstrong there are lots of tracks I am unfamiliar with - like this one " Burnin the iceberg"

https://youtu.be/FwmCf8Uj9oc

elmo

[Ian Thumwood]

Ian

I do have the Armstrong JSP Box and agree it is such great music and the remastering makes it indispensable. I have started dipping into the JRM box and as you say regarding the Armstrong there are lots of tracks I am unfamiliar with - like this one " Burnin the iceberg"

https://youtu.be/FwmCf8Uj9oc

elmo

Elmo

That is fantastic. I have never heard this track either.

Oddly this track seems like a contrafact on "Farewell Blues." I was unaware that Morton composed contrafacts.

[Quarky]

Fri 15 Nov
11pm - J to Z Late:
Live from the London Jazz Festival
Jumoké Fashola presents a special edition of J to Z from the opening night of the London Jazz Festival. She's joined by exciting new artists including Nigerian trumpeter Etuk Ubono, vocalist Madison McFerrin and trombonist Rosie Turton (of London collective Nérija).

http://www.bbc.co.uk/programmes/m000b7x4

Cécile McLorin Salvant streets ahead of the other vocalists : https://www.bbc.co.uk/programmes/m000b7wy