James Allsopp's ensemble The Golden Age of Steam set, The Vortex, October 2013.
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Trish Clowes' Tangent playing materials from her then-début eponymous album at the dingy New Cross pub back room HQ where when not performing she would often be on the door taking the six squid entry. They used to have just one red spot light for stage illumination, and sitting in the gloom we used to wonder how they managed to read their sheet music. Trish was part of the SE Jazz Collective, set up partly in response to the success of the Islington-based Loop Collective, but for some reason (possibly poor transport links in comparison) jazz has never really taken off in S London despite valiant efforts by mostly musicians for the past 50 years+.
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Originally posted by Jazzrook View Post
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Charles Mingus with Bobby Jones, Jaki Byard, Charles McPherson(?), Eddie Preston(?) & Dannie Richmond(?) playing 'Pithecanthropus Erectus' in 1970(?):
Jones' solo begins at 2:30.Bobby Jones (October 30, 1928, Louisville, Kentucky - March 6, 1980, Munich) was an American jazz saxophonist.Jones played drums a...
JR
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SEJazzCollective - 2011-2013
Apologies if I've posted these clips before. They cover 3 years' worth of different appearances at the Amersham Arms in New Cross, giving some idea of the stylistic mixes that were then on offer.
Meanwhile the world goes by outside..........................
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Originally posted by Jazzrook View Post
Here is another - John Gilmore with Elmo Hope and Philly Joe from 'Sounds from Rikers Island' for me this is desert island stuff.
elmo
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Originally posted by elmo View PostThis is a really wonderful performance by John Gilmore from one of the best Jazz 625's
Here is another - John Gilmore with Elmo Hope and Philly Joe from 'Sounds from Rikers Island' for me this is desert island stuff.
elmo
Discovered a brief video clip of John Gilmore with Charles Mingus.
It's not on YouTube but can be found if you search for "saxontheweb Mingus Gilmore" and click on "Who's that sax player playing with Charlie Mingus????"
Wish they'd made a record together.
JR
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Bruce
Thanks for posting the Paul Motion documentary. I have watched quite a bit of it but need to play the whole film this weekend. I love Paul Motian's music, bioth from the persepctive as an exeptional and original drummer and as a composer - something he never really got enough credit for. What is shocking is seeing just how many musicians in the film have now passed. I will have to dig out some of my Paul Motian records this weekend.
Joseph's posting of the Miles Davis gig from 1971 makes a fascinating contrast. Early 1970's Miles is a bit of a marmite experience for me. There are moments when the music feels like it is the fruition of what the second quartet did and, although effectively something as much created by Teo Macero in the studio, "Bitches Brew" took this to the ultimate extreme. However, it always struck me as something of a rabbit hole for Davis. What came out the other side was often just soloing over repetitive vamps and the glorious sound of his trumpet playing which reached it's apogee on an album like "Seven steps to heaven" has been abandoned as his plugged his horn in. I am afraid that I quickly got fed up with the music in this concert but it does make a fascinating juxtaposition with what you can hear in the Motion film where there is clearly a lot of thinking going on about creating the music. If you take the point that both musicians had reached by the 70s and 80s and compare the two, the only conclusion can be that Paul Motion was involved in all sorts of projects that were consistently producing better jazz than Miles Davis at that time. Even if you discount Mile's most pop-orientated stuff from the 1980s (which I bought in to at the time btw),it is Motian whose work is creative. When you think of the musicians Paul Motian was involved with at that time including the likes of Paul Bley, Charlie Haden, Dewey Redman, Bill Frisell, Marilyn Crispell, John Surman, etc, there is a body of work there that could be construed as being as good as the best work of Miles Davis. As much as I love Miles Davis (his music probably outnumbers anyone else's in my collection) seeing these two videos together did make me think just how divorced his music ultimately became from where the music was really "happening." In the end, he was little more than a poseur.
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