Ronnie’s - BBC4

[CGR]

Gradus

I don't think that the music is the problem with attracting an audience but I do wonder whether the "image" jazz clubs have is a barrier. When I went to Vienne a few years back Robert Glasper had just released "Black Radio" and it was interesting that this record was instantly recognised when a car drove past a group of students I was chatting to and they immediately recognised what it was. There was a lot of approval about this disc which made me appreciate that it wasn't so much the youngsters were not listening to jazz but simply listening to a kind of jazz older people were not checking out. I had a similar conversation with some twenty-somethings from France a few years later when they were raving about a performance the next night by a French saxophonist and a DJ. I think younger people will listen to jazz if it is available in an open air venue / busking on the street and especially at festivals. It will always appeal to those who are music students anyway. The problem with jazz clubs is the kind of "Fast Show" image which acts as a barrier to the casual music fan. It is not an especially inviting atmosphere whereas somewhere that would allow you to dance to jazz would have a much greater appeal. This is clearly the case with the newer musicians emerging from the UK who have absolutely nailed this and reconnected jazz with it's social function which jazz clubs had actually alienated. I would add that I would want to listen to the music and not dance to it yet I would bet that most fans under the age of 30 will feel totally different to everyone posting on here.

The Concorde Club is about five miles away from where I live and this is the most famous jazz club in my area. I believe that it has been in existence for longer than Ronnie Scott's but the clientele is not the same as those attending gigs at the Turner Sims. It is ages since I have been there and these days there are more "tribute" acts booked to appear than genuine jazz acts. Back in the 70s and 80s it did attract some significant names albeit they had a policy of booking more conservative acts. In the past I have seen The Dirty Dozen, Scot Hamilton, Gene Harris, BBC Big Band, Howard Alden and Georgie Fame there. Most of the people who go here are retired and middle class. The cost prohibits younger people and I think the ambience of the club would be a challenge too. The biggest problem for me is that people chat throughout the gig. The fans tend to sit near the front whereas the people who have turned up for a meal site the other side of the stage.

By contrast, the Turner Sims is on the Southampton university complex and, as a consequence, has the potential to attract a younger audience. There are still older people attending but I once had a conversation with the manager who explained that he could never gauge which gigs would be popular. The example he made was of a piano trio from Luxembourg whose gig sold out whereas the following concert by Mike Gibb's big band was half empty. I just think that the audience for jazz is unpredictable and fickle. It might even be that there are , in fact, several audiences. However, I do feel that the idea of a traditional jazz club is off-putting for someone who is not an avid fan. In attention, the charges of drinks does make it an expensive evening. Of all the gigs I have been to, I would suggest that less than 10% have been in jazz clubs. There are not too many around and locally there are better options at concert venues. There is not real competition with the Concorde club losing it's reputation as a "serious" jazz venue and being more of a tourist venue complete with hotel. I concur with the sentiments of the benefits of a dedicated jazz club yet I don't think it is necessarily better than saw The Beresford, Stamshaw near Southsea where I have heard Will Bernard before.

I must say that I generally do not enjoy jazz in a concert setting. To me it will always be club music, a pub jazz evening is the nearest we get to it around this neck of the woods.

[Ian Thumwood]

I caught about 45 mins of the new Jazz625 yesterday which I think was a but mixed. I missed the first half hour. For me, the most interesting element was the Gary Crosby workshop which seemed to underscore how valuable this institution has become. It is quite interesting to see how successful Crosby has been in comparison with places like Wavendon which effectively was a bedrock under the auspices of the Dankworths for so many years. In my opinion, Gary Crosby is our Art Blakey in the way that he has developed careers in jazz but his efforts have borne fruit in the last few years in a fashion that must have even surprised him. This section drew some interesting comparisons with the Ronnie Scott documentary where that generation of players were similarly fighting for a platform for their music.

I was less impressed with some aspects of the music. Having seen Kokoroko perform live, the TV performance seemed edited and did not captured how much fun this band is. They thrive off an audience and therefore I felt some of the spark was missing, as well as the improvised solos that are a big feature of the music. Some elements were too focused on crossover and I was not fussed with Theon Cross's interaction with the rapper. The other bands I saw the were featured in the studio sounded good and I really liked Binker Moses as both a drummer and compare.

Nice to see that the Manchester scene was represented. I had forgotten that bands liked "Go- Go Penguin" had emerged from that city. The Matt Halsall group featured some nice flute yet it was a bit depressing to see that "contemporary" jazz had regressed back to these one or two chord vamps favoured by the likes of Pharoah Sanders. It was well polished and would have been hugely impressive if it had been recorded in 1972 but, as things stand, I felt it was hugely retrograde. I could not help thinking how this band contrasted with say the kind of groups Kenny Wheeler led with John Taylor which I felt were World Class. It seemed a big step backwards to me, not only stylistically but also because the music was so basic. I supposed that this is a "reaction" against "sophisticated" players like Kit Downes ,etc.

I missed the first half hour and therefore have no idea whether they featured any larger ensembles or more avant garde bands. These elements seemed to be missing from the 50 minutes I watched. Most of the groups were very much "groove" orientated and I did wonder whether any of Gary Crosby's students had more ambitious plans regarding composition. I am aware that this is the case with the hugely talented Cassie Kinoshi. Are there any others ?

The other point I think is worthwhile making is that a lot of these younger players are bridging the gap between jazz and more popular forms of music. You can appreciate the appeal to a younger audience and it is a welcome change from the kind of jazz endured over the last 20 years in the UK which has ranged from gimmicky such as "Polar Bear", Portico Quartet, Go-Go Penguin and Neil Cowley trio. This young generation really "get" what jazz is about and have not forgotten that the music used to have a wider appeal. I have got to say that I much prefer these players and am more engaged with their music than the what British jazz had been beforehand. Also nice to see women taking a leading role in this and full praise to the likes of Cassie Kinoshi, Camila George, Shirley Tettah and Sheila Maurice-Grey. To my ears, they have been "the real deal" as opposed to the likes of Trish Clowes, Torri Freestone and Laura Jurd who all seem massively well-armoured technically yet "products" of the Music College system. The latter all seem "worthy" yet this new generation plays with far more conviction in my opinion. Great to see British TV recognising this genuine talent.

The big "plus" with this for me was the tenor playing of Nubya Garcia. I love her phrasing and the tone she produces. The flow of her ideas draws you in as a listener and no phrase seems to be wasted. Listening to her, I am strongly reminded of players like Joe Henderson, Hank Mobley and even Tubby Hayes. It was quite interesting listening to her because she seemed to stand out head and shoulders above everything else. I think she is probably the best tenor saxophonist this country has produced since Iain Ballamy and have no doubt she will prove to be World Class. It will be fascinating watching her career develop and perhaps noticing her name crop up with some of the top, contemporary names. She has been a discovery for me this year and I have been hugely impressed. Nubya is destined for the same kind of profile as someone such as Esperanza Spaulding. She is a hugely exciting talent. Amazed that this "bored" has tended to be so silent about her. Why the lack of excitement ?

[BLUESNIK'S REVOX]

I caught about 45 mins of the new Jazz625 yesterday which I think was a but mixed. I missed the first half hour. For me, the most interesting element was the Gary Crosby workshop which seemed to underscore how valuable this institution has become. It is quite interesting to see how successful Crosby has been in comparison with places like Wavendon which effectively was a bedrock under the auspices of the Dankworths for so many years. In my opinion, Gary Crosby is our Art Blakey in the way that he has developed careers in jazz but his efforts have borne fruit in the last few years in a fashion that must have even surprised him. This section drew some interesting comparisons with the Ronnie Scott documentary where that generation of players were similarly fighting for a platform for their music.

I was less impressed with some aspects of the music. Having seen Kokoroko perform live, the TV performance seemed edited and did not captured how much fun this band is. They thrive off an audience and therefore I felt some of the spark was missing, as well as the improvised solos that are a big feature of the music. Some elements were too focused on crossover and I was not fussed with Theon Cross's interaction with the rapper. The other bands I saw the were featured in the studio sounded good and I really liked Binker Moses as both a drummer and compare.

Nice to see that the Manchester scene was represented. I had forgotten that bands liked "Go- Go Penguin" had emerged from that city. The Matt Halsall group featured some nice flute yet it was a bit depressing to see that "contemporary" jazz had regressed back to these one or two chord vamps favoured by the likes of Pharoah Sanders. It was well polished and would have been hugely impressive if it had been recorded in 1972 but, as things stand, I felt it was hugely retrograde. I could not help thinking how this band contrasted with say the kind of groups Kenny Wheeler led with John Taylor which I felt were World Class. It seemed a big step backwards to me, not only stylistically but also because the music was so basic. I supposed that this is a "reaction" against "sophisticated" players like Kit Downes ,etc.

I missed the first half hour and therefore have no idea whether they featured any larger ensembles or more avant garde bands. These elements seemed to be missing from the 50 minutes I watched. Most of the groups were very much "groove" orientated and I did wonder whether any of Gary Crosby's students had more ambitious plans regarding composition. I am aware that this is the case with the hugely talented Cassie Kinoshi. Are there any others ?

The other point I think is worthwhile making is that a lot of these younger players are bridging the gap between jazz and more popular forms of music. You can appreciate the appeal to a younger audience and it is a welcome change from the kind of jazz endured over the last 20 years in the UK which has ranged from gimmicky such as "Polar Bear", Portico Quartet, Go-Go Penguin and Neil Cowley trio. This young generation really "get" what jazz is about and have not forgotten that the music used to have a wider appeal. I have got to say that I much prefer these players and am more engaged with their music than the what British jazz had been beforehand. Also nice to see women taking a leading role in this and full praise to the likes of Cassie Kinoshi, Camila George, Shirley Tettah and Sheila Maurice-Grey. To my ears, they have been "the real deal" as opposed to the likes of Trish Clowes, Torri Freestone and Laura Jurd who all seem massively well-armoured technically yet "products" of the Music College system. The latter all seem "worthy" yet this new generation plays with far more conviction in my opinion. Great to see British TV recognising this genuine talent.

The big "plus" with this for me was the tenor playing of Nubya Garcia. I love her phrasing and the tone she produces. The flow of her ideas draws you in as a listener and no phrase seems to be wasted. Listening to her, I am strongly reminded of players like Joe Henderson, Hank Mobley and even Tubby Hayes. It was quite interesting listening to her because she seemed to stand out head and shoulders above everything else. I think she is probably the best tenor saxophonist this country has produced since Iain Ballamy and have no doubt she will prove to be World Class. It will be fascinating watching her career develop and perhaps noticing her name crop up with some of the top, contemporary names. She has been a discovery for me this year and I have been hugely impressed. Nubya is destined for the same kind of profile as someone such as Esperanza Spaulding. She is a hugely exciting talent. Amazed that this "bored" has tended to be so silent about her. Why the lack of excitement ?

Ahem! (As Kenny Kingtone used to mutter) , I FIRST drew attention to Nubya Garcia way back when all the hype about the new British generation jazz first emerged, as the one with substance, strength and individuality. She seems impressive as a player and a person. If only she had recorded for Bluenote in its heyday,. I would certainly have bought her classic waxings. As it is, I have my principles...

[CGR]

I caught about 45 mins of the new Jazz625 yesterday which I think was a but mixed. I missed the first half hour. For me, the most interesting element was the Gary Crosby workshop which seemed to underscore how valuable this institution has become. It is quite interesting to see how successful Crosby has been in comparison with places like Wavendon which effectively was a bedrock under the auspices of the Dankworths for so many years. In my opinion, Gary Crosby is our Art Blakey in the way that he has developed careers in jazz but his efforts have borne fruit in the last few years in a fashion that must have even surprised him. This section drew some interesting comparisons with the Ronnie Scott documentary where that generation of players were similarly fighting for a platform for their music.

I was less impressed with some aspects of the music. Having seen Kokoroko perform live, the TV performance seemed edited and did not captured how much fun this band is. They thrive off an audience and therefore I felt some of the spark was missing, as well as the improvised solos that are a big feature of the music. Some elements were too focused on crossover and I was not fussed with Theon Cross's interaction with the rapper. The other bands I saw the were featured in the studio sounded good and I really liked Binker Moses as both a drummer and compare.

Nice to see that the Manchester scene was represented. I had forgotten that bands liked "Go- Go Penguin" had emerged from that city. The Matt Halsall group featured some nice flute yet it was a bit depressing to see that "contemporary" jazz had regressed back to these one or two chord vamps favoured by the likes of Pharoah Sanders. It was well polished and would have been hugely impressive if it had been recorded in 1972 but, as things stand, I felt it was hugely retrograde. I could not help thinking how this band contrasted with say the kind of groups Kenny Wheeler led with John Taylor which I felt were World Class. It seemed a big step backwards to me, not only stylistically but also because the music was so basic. I supposed that this is a "reaction" against "sophisticated" players like Kit Downes ,etc.

I missed the first half hour and therefore have no idea whether they featured any larger ensembles or more avant garde bands. These elements seemed to be missing from the 50 minutes I watched. Most of the groups were very much "groove" orientated and I did wonder whether any of Gary Crosby's students had more ambitious plans regarding composition. I am aware that this is the case with the hugely talented Cassie Kinoshi. Are there any others ?

The other point I think is worthwhile making is that a lot of these younger players are bridging the gap between jazz and more popular forms of music. You can appreciate the appeal to a younger audience and it is a welcome change from the kind of jazz endured over the last 20 years in the UK which has ranged from gimmicky such as "Polar Bear", Portico Quartet, Go-Go Penguin and Neil Cowley trio. This young generation really "get" what jazz is about and have not forgotten that the music used to have a wider appeal. I have got to say that I much prefer these players and am more engaged with their music than the what British jazz had been beforehand. Also nice to see women taking a leading role in this and full praise to the likes of Cassie Kinoshi, Camila George, Shirley Tettah and Sheila Maurice-Grey. To my ears, they have been "the real deal" as opposed to the likes of Trish Clowes, Torri Freestone and Laura Jurd who all seem massively well-armoured technically yet "products" of the Music College system. The latter all seem "worthy" yet this new generation plays with far more conviction in my opinion. Great to see British TV recognising this genuine talent.

The big "plus" with this for me was the tenor playing of Nubya Garcia. I love her phrasing and the tone she produces. The flow of her ideas draws you in as a listener and no phrase seems to be wasted. Listening to her, I am strongly reminded of players like Joe Henderson, Hank Mobley and even Tubby Hayes. It was quite interesting listening to her because she seemed to stand out head and shoulders above everything else. I think she is probably the best tenor saxophonist this country has produced since Iain Ballamy and have no doubt she will prove to be World Class. It will be fascinating watching her career develop and perhaps noticing her name crop up with some of the top, contemporary names. She has been a discovery for me this year and I have been hugely impressed. Nubya is destined for the same kind of profile as someone such as Esperanza Spaulding. She is a hugely exciting talent. Amazed that this "bored" has tended to be so silent about her. Why the lack of excitement ?

I watched for a while. I've recorded it, but it struck me as being exactly what I would expect a BBC Four programme on 'contemporary' jazz to be - metropolitan focused, shallow & trendy.

[Joseph K]

She is a hugely exciting talent. Amazed that this "bored" has tended to be so silent about her. Why the lack of excitement ?

If you recall, after you gushed about her playing I sought out her most recent record. I don't recall being enamoured of it... it's funny that you criticise playing over vamps because IIRC there were one or two vamps on Nubya's album. I'll check it out again though...

[Jazzrook]

I caught about 45 mins of the new Jazz625 yesterday which I think was a but mixed. I missed the first half hour. For me, the most interesting element was the Gary Crosby workshop which seemed to underscore how valuable this institution has become. It is quite interesting to see how successful Crosby has been in comparison with places like Wavendon which effectively was a bedrock under the auspices of the Dankworths for so many years. In my opinion, Gary Crosby is our Art Blakey in the way that he has developed careers in jazz but his efforts have borne fruit in the last few years in a fashion that must have even surprised him. This section drew some interesting comparisons with the Ronnie Scott documentary where that generation of players were similarly fighting for a platform for their music.

I was less impressed with some aspects of the music. Having seen Kokoroko perform live, the TV performance seemed edited and did not captured how much fun this band is. They thrive off an audience and therefore I felt some of the spark was missing, as well as the improvised solos that are a big feature of the music. Some elements were too focused on crossover and I was not fussed with Theon Cross's interaction with the rapper. The other bands I saw the were featured in the studio sounded good and I really liked Binker Moses as both a drummer and compare.

Nice to see that the Manchester scene was represented. I had forgotten that bands liked "Go- Go Penguin" had emerged from that city. The Matt Halsall group featured some nice flute yet it was a bit depressing to see that "contemporary" jazz had regressed back to these one or two chord vamps favoured by the likes of Pharoah Sanders. It was well polished and would have been hugely impressive if it had been recorded in 1972 but, as things stand, I felt it was hugely retrograde. I could not help thinking how this band contrasted with say the kind of groups Kenny Wheeler led with John Taylor which I felt were World Class. It seemed a big step backwards to me, not only stylistically but also because the music was so basic. I supposed that this is a "reaction" against "sophisticated" players like Kit Downes ,etc.

I missed the first half hour and therefore have no idea whether they featured any larger ensembles or more avant garde bands. These elements seemed to be missing from the 50 minutes I watched. Most of the groups were very much "groove" orientated and I did wonder whether any of Gary Crosby's students had more ambitious plans regarding composition. I am aware that this is the case with the hugely talented Cassie Kinoshi. Are there any others ?

The other point I think is worthwhile making is that a lot of these younger players are bridging the gap between jazz and more popular forms of music. You can appreciate the appeal to a younger audience and it is a welcome change from the kind of jazz endured over the last 20 years in the UK which has ranged from gimmicky such as "Polar Bear", Portico Quartet, Go-Go Penguin and Neil Cowley trio. This young generation really "get" what jazz is about and have not forgotten that the music used to have a wider appeal. I have got to say that I much prefer these players and am more engaged with their music than the what British jazz had been beforehand. Also nice to see women taking a leading role in this and full praise to the likes of Cassie Kinoshi, Camila George, Shirley Tettah and Sheila Maurice-Grey. To my ears, they have been "the real deal" as opposed to the likes of Trish Clowes, Torri Freestone and Laura Jurd who all seem massively well-armoured technically yet "products" of the Music College system. The latter all seem "worthy" yet this new generation plays with far more conviction in my opinion. Great to see British TV recognising this genuine talent.

The big "plus" with this for me was the tenor playing of Nubya Garcia. I love her phrasing and the tone she produces. The flow of her ideas draws you in as a listener and no phrase seems to be wasted. Listening to her, I am strongly reminded of players like Joe Henderson, Hank Mobley and even Tubby Hayes. It was quite interesting listening to her because she seemed to stand out head and shoulders above everything else. I think she is probably the best tenor saxophonist this country has produced since Iain Ballamy and have no doubt she will prove to be World Class. It will be fascinating watching her career develop and perhaps noticing her name crop up with some of the top, contemporary names. She has been a discovery for me this year and I have been hugely impressed. Nubya is destined for the same kind of profile as someone such as Esperanza Spaulding. She is a hugely exciting talent. Amazed that this "bored" has tended to be so silent about her. Why the lack of excitement ?

I watched and recorded 'Jazz 625: the British Jazz Explosion' and wanted to like it but on first hearing found very little of the music hit the spot with me.
I agree that Nubya Garcia is a fine tenor saxophonist and will give the programme another viewing.

JR

[Serial_Apologist]

I'm rather with Joseph K on Nubya, I'm afraid - a good player, but not exceptional: but her composed stuff is OK; she is still young and a mine full of possibilities, and, being so personable, like her contemporaries and colleagues, a great confirmation that BLACK YOUNG FEMALE BRITISH JAZZ MUSICIANS MATTER.

I'll go and take a cold shower now.

Oh before I go, nice to hear the programme featuring Kenny Barron playing and in conversation with Julian for a second time. Someone on here, I think - possibly Ian - pointed out that Kenny, for all the advanced settings in which he has been involved, is really coming from the 1940s, stylistically pre-Bill Evans/McCoy Tyner-based, which is self-evident in his phrasings and note choices. Much the same as myself, I have to admit. The main difference is that one of us is great - him - and the other, rubbish - me!

[Ian Thumwood]

I'm rather with Joseph K on Nubya, I'm afraid - a good player, but not exceptional: but her composed stuff is OK; she is still young and a mine full of possibilities, and, being so personable, like her contemporaries and colleagues, a great confirmation that BLACK YOUNG FEMALE BRITISH JAZZ MUSICIANS MATTER.

I'll go and take a cold shower now.

Oh before I go, nice to hear the programme featuring Kenny Barron playing and in conversation with Julian for a second time. Someone on here, I think - possibly Ian - pointed out that Kenny, for all the advanced settings in which he has been involved, is really coming from the 1940s, stylistically pre-Bill Evans/McCoy Tyner-based, which is self-evident in his phrasings and note choices. Much the same as myself, I have to admit. The main difference is that one of us is great - him - and the other, rubbish - me!

The thing with Nubya is that she is much younger than the players in whose wake she has followed. I know she is only one year younger than someone like Laura Jurd but they sound like they belong to different generations. She has the potential to be sensational and I just hope that she fulfils her obvious potential. It is an even bigger improvement of bands like Polar Bear or those other fringe groups from the 2000s and 2010 such as the Portico Quartet.

As I said earlier, I am not fussed by the rapping and there are times when the music sails pretty close to more popular and commercial oeuvres. What is important is the number of these musicians who have emerged in the last few years. I get CGR's comments yet if only a fraction of these players ends up delivering the goods, it will be exciting. I sometimes feel that the British Jazz scene is a bit obsessed with building up talent and not really being in it for the long term. There is part of this about the players featured last night who are enjoying their moment in the sum yet I cannot help feeling that the generation of players Gary Crosby has nurtured will put down some firm musical roots. These musicians are early on in their careers and it will be interesting to see how things evolve. I am just hoping that someone like Cassie Kinoshi will prove to be the British Henry Theadgill and join the ranks of Wesrboork, Gibbs and Ardley.

[Serial_Apologist]

The thing with Nubya is that she is much younger than the players in whose wake she has followed. I know she is only one year younger than someone like Laura Jurd but they sound like they belong to different generations. She has the potential to be sensational and I just hope that she fulfils her obvious potential. It is an even bigger improvement of bands like Polar Bear or those other fringe groups from the 2000s and 2010 such as the Portico Quartet.

As I said earlier, I am not fussed by the rapping and there are times when the music sails pretty close to more popular and commercial oeuvres. What is important is the number of these musicians who have emerged in the last few years. I get CGR's comments yet if only a fraction of these players ends up delivering the goods, it will be exciting. I sometimes feel that the British Jazz scene is a bit obsessed with building up talent and not really being in it for the long term. There is part of this about the players featured last night who are enjoying their moment in the sum yet I cannot help feeling that the generation of players Gary Crosby has nurtured will put down some firm musical roots. These musicians are early on in their careers and it will be interesting to see how things evolve. I am just hoping that someone like Cassie Kinoshi will prove to be the British Henry Theadgill and join the ranks of Wesrboork, Gibbs and Ardley.

[Ian Thumwood]

Wondered if anyone else watched the documentary on Fela Kuti yesterday ? I was aware of his significance and his role in politics yet have rarely encountered his music. It was quite interesting because the people being interviewed suggested that his music was an African take on Funk whereas the music played struck me as having more akin to jazz and the likes of someone such as Sun Ra in particular. In fact, given the whole commune business and obsession with Egyptian myths and mysticism I was really surprised that the connection was never made.

As for the music, difficult not to share the enthusiasm of the those commenting and if Kuti's personal behaviour and confidence in his own importance took away some of the sympathy for him, the conclusion could only be that he was someone totally uninterested in compromising his own musical integrity. The groove was incredible yet I felt the intonation of the horn section was constantly an irritant.

[Jazzrook]

Wondered if anyone else watched the documentary on Fela Kuti yesterday ? I was aware of his significance and his role in politics yet have rarely encountered his music. It was quite interesting because the people being interviewed suggested that his music was an African take on Funk whereas the music played struck me as having more akin to jazz and the likes of someone such as Sun Ra in particular. In fact, given the whole commune business and obsession with Egyptian myths and mysticism I was really surprised that the connection was never made.

As for the music, difficult not to share the enthusiasm of the those commenting and if Kuti's personal behaviour and confidence in his own importance took away some of the sympathy for him, the conclusion could only be that he was someone totally uninterested in compromising his own musical integrity. The groove was incredible yet I felt the intonation of the horn section was constantly an irritant.

Yes, a fascinating programme which I'm glad I recorded.
It prompted me to order his 'Zombie' album.

JR

[Serial_Apologist]

Wondered if anyone else watched the documentary on Fela Kuti yesterday ? I was aware of his significance and his role in politics yet have rarely encountered his music. It was quite interesting because the people being interviewed suggested that his music was an African take on Funk whereas the music played struck me as having more akin to jazz and the likes of someone such as Sun Ra in particular. In fact, given the whole commune business and obsession with Egyptian myths and mysticism I was really surprised that the connection was never made.

As for the music, difficult not to share the enthusiasm of the those commenting and if Kuti's personal behaviour and confidence in his own importance took away some of the sympathy for him, the conclusion could only be that he was someone totally uninterested in compromising his own musical integrity. The groove was incredible yet I felt the intonation of the horn section was constantly an irritant.

An excellent documentary. Most interesting for me was the information about Fela's period of familiarisation with the British jazz scene in the mid-1960s, when some of us here attended the Flamingo. Secondly the mesh of influences that impacted in various ways on his evolving conception at different stages - important observations by African associates confirming Afrobeat as not originally being African in its origins but first of all West Indian - as was Highlife, marking an intermediary stage for him - and then James Brown funk. As with Ian I was struck by the non-mention of Sun Ra re the adoption of pseudo-Egyptian mythological symbolism, but this seems commonplace in the way funk advocates tell the story, and also applied to Parliament/Funkadelic. Talk of "songs" seems to have become fashionable in describing many kinds of music in recent years, and only by stretching a useful term can it be said to apply to Fela's performances, which, unrolling in the manner of continuous loops interspersed with varying degrees of arrangement in the form of riffing sections and levels of polyrhythmic complexity, seemed from the documentary to have been part of the overall rhythm of life at the commune in a deliberate hark-back to pre-slavery times that came more and more to the fore in later years as the hard lessons of courting the majors came home to roost, along with the unhappy isolation of Fela's household and politics in his homeland. Back in the day I think this would have confirmed the viewpoint of those of us on the left in the "first world" that, in order to be carried through to the complete ending of domination by Western interests, revolutions in "third world" countries are bound to take "deformed" pathways, usually through grass-roots revolts in sections of the military under conditions that in today's world are difficult to envisage or repeat, viz Angola 1975. What would or could happen today, in the post-Soviet Union era, has become a difficult question to contemplate, as any brief look at Brazil makes clear.