I'm going to review records in my collection, and you'll be able to decide if they're worthy of your collection. These records are what I consider "must haves" for any jazz aficionado, and would be found in their collections. I wont review any record that's not on CD, nor will I review any record if the CD is markedly inferior. Fortunately, I only found 1 case where the CD was markedly inferior to the record.
Our first album is "Moanin" by Art Blakey and The Jazz Messengers. We have Lee Morgan , trumpet; Benney Golson, tenor sax; Bobby Timmons, piano; Jymie merrit, bass; Art Blakey, drums.
The title tune "Moanin" is by Bobby Timmons, it conveys the emotion of the title like no other tune I've ever heard, even better than any words could ever convey. This music pictures a person whose down to his last nickel, and all he can do is "moan".
"Along Came Betty" is a tune by Benny Golson, it reminds me of a Betty I once knew. She was gorgeous with a jazzy personality, and she moved smooth and easy, just like this tune. Somebody find me a time machine! Maybe you knew a Betty.
While the rest of the music is just fine, those are my favorite tunes. Why don't you share your, "must have" jazz albums with us.
I will answer the two questions asked by O-10 that are verifiable factually and leave the more, let’s just say, subject-to-opinion one for others, as there has already been a fair amount of "propaganda" expressed.
-The USA (not surprisingly since its an American art form), has far more jazz venues than any other country. -Twenty years ago, and perhaps surprisingly, there were actually fewer jazz venues than there are today; in the USA, anyway.
Thank you very much Frogman. This is political season and any time a politicians lips are moving he's lying. I'm trying to sort out facts from fiction and propaganda, don't want to start a new conversation.
I know anything I say starts an argument, but Alex seems to be the least affected by the media hype, brain washers; by that I mean a person has to do independent research to find facts.
Again I thank you for your response; now I'm going to review the music.
Rok, although not exactly new, there's nothing not to like about Diane Reeves and Jimmy Smith. That might be the best version of Afro Blue.
Alex, out of the three you submitted, I liked "Travlin Light" the best; I had almost forgotten how mellow Ben Webster sounds. Thanks to you I'm going to put that on my "Playlist" so I don't forget it again. That tune captures the essence of a bygone day; while I knew about Ben in regard to that time, I was unaware of Zawinul as a compliment; this is different from anything I've heard from Zawinul.
Ghosthouse, Rhoda Scot is new to me; now I have to decide which out of the three links I like the best. I definitely liked the first one the best; she wasn't smart enough, and hadn't been a musician long enough to know about technique, she just came on with a whole lot of "soul".
Frogman, this might be the first time I ever mentioned a recording problem; maybe it was because I was listening with headphones, it almost sounded like two bands playing at the same time; headphones don't sort out too many instruments very well, other than that I liked it. I'll listen to it on the rig sometime. Dave liebman, "Loft Dance".
Ghosthouse, I've got many records with Ralph Towner as a side man, this might be the first time as leader. Jan Garbarek, is unmistakable; he has a very forlorn sound, like some icy wilderness, but he's different on flute. That record definitely has the ECM sound. I guess when I get in an ECM mood, I'll get all my old records out and play them all along with that one; definitely a mood thing.
Frogman, you're going to see Rene Marie; I don't ever get to go anyplace, could you take me with you?
Rene Marie is the newest voice that impresses me, I'll have to get some of her CD's.
****I know anything I say starts an argument, but Alex seems to be the least affected by the media hype, brain washers; by that I mean a person has to do independent research to find facts****
O-10, you are absolutely correct with one of the points in your comment; and, absolutely mistaken with the other. (") I don't want to start a new discussion ("), so I will leave it at that and, if it matters, you can figure out what I mean. A friendly sugestion for the better health of this thread and its main topic: stop baiting by throwing out little snippets of provocative commentary and then "innocently" running for the (music) hills; or, simply open up the discussion to the new topic and encourage respectful discourse. Iow, please consider staying clear of provocative topics; or not. Btw, the first sentence of this paragraph is simply an example of what I am talking about. To the hills myself:
"Loft Dance": A recording problem from ECM?! Unlikely, imo. I just listened to it again for the ?th time and I don't hear anything that I would consider a recording problem. I am sure you hear something there, so could you be please more specific about what you hear and describe it in more detail?
Rene Marie: Sure, I'll take you; as long as you promise to keep your "crowd surfing" to a minimum ☺️
"Loft Dance", On headphones, the tenor sax overshadowed everything else in one spot; but it was on the center channel on the rig; there was a good aggregation of instruments that complimented the music, I liked it.
Frogman, could you post whatever you posted where people who were obviously on the lower economic rung were singing; it was music that was specifically Cuban, they sounded good, especially since there were no instruments to accompany them.
Frogman, I am quite sure that Orpheus will giggle reading this, but if you have recognised the ’bait’ why did you have to answer it?
This way you made me involved, again, in ’discussion’ that I choose not to participate, except for the first post addressed to you. But, after that, you must have noticed, that I have never answered to some of ’questions’ you have asked, because of few simple reasons.
First, of course,this is a thread about jazz, after all, despite its loose form and some of the things said, by some particapants, that might be considered as ’politically incorrect’.
Second, aldo I respect not only the things you say, but also the way you are sharing your thoughts, I have come to the conclusion after our last ’discussion’ that (when it comes to politics) your perspective and opinions are not wide or deep (are that the proper terms?) in a way that your perspective is, or the whole attitude toward seeing ’bigger picture,’ when you discuss music. That came as an unpleseant surprise, in a way and in the moment when I have realised that, I decided that is better to stop any potential ’disscusion’ that might go that way. Because, its pointless (our ’positions’ are too wide apart) and we could only poison the pleasant relations that we have here, and we are already short in numbers.
And now you have felt the need to mention, (not directly) that topic again? The best way to answer on some provocation (if you think that Orpheus is doing just that) is to simply ignore it.....or to open artillery fire....
But, if you feel that there are some issues left and if you wish to hear my opinion about it, please say so. I will do my best to support with arguments any opinion that I might have that you consider that is influenced by ’media hype or brain washing’ and in a same time will not use any words that you may consider as personal attack. My only fear is that after any such ’disscusion’ things may not be the same here anymore, reagarding our relations between our ’virtual personas’....
Alex, I too respect your opinions and expressed thoughts about music and have enjoyed dialoguing with you on that subject. I have found you, first and foremost, to be open minded on the subject of music even while having well defined tastes. This most recent and minor (and it is, in the scheme of things) conflict is a perfect justification for my suggestion to O-10 and example of why we should stay clear of topics that are potentially provocative and not directly related to the subject of this thread. However, I find your reaction to recent comments both duplicitous and disingenuous. Allow me to explain:
I did not "take O-10's bait", I had no intention to get embroiled in another discussion about politics. I suggested that he refrain from his occasional tendency to bait and provoke so as to avoid precisely what is happening as I write this. Why duplicitous?
You object to my involving you in a another discussion about politics. If that offended you, my apology. However, I need to point out that you had already involved yourself with your "torture chambers in Guantanamo" comment. Although I doubt it, perhaps your comment was meant solely as humor; not a topic that has much room for humor. Not being from this country and perhaps because of your political orientation, you may not be aware of the fact that this is a political topic that is highly "charged" in this country; however, I am sure you are aware of this. I need to also point out that while you object to my involving you, you don't seem to mind, and conveniently overlook, the fact that O-10 first involved you; and, at the expense of other participants here. Why did you not object to that, Alex?
****Alex seems to be the least affected by the media hype, brain washers; by that I mean a person has to do independent research to find facts.****
Additionally, you went on to involve him with:
****Frogman, I am quite sure that Orpheus will giggle reading this, but if you have recognised the ’bait’ why did you have to answer it?****
Alex, I hope you can appreciate, on some level, the silliness of all this and how, if anything, it's just an indication of "thin skin" all the way around. Absent any further "proof" or valid retort from you, and given the obvious ambiguities and limitations of dialogue about complicated topics on a forum such as this, what is apparent to me is that the reason that you object to my taking those liberties and not to O-10 doing the same is that you and he seem to agree politically and you and I do not; not a particularly "deep" reason, imo. Speaking of "deep", or absence of it, this is what really matters (to me, anyway):
You may have noticed that my suggestion to O-10 was to not bait and to encourage "RESPECTFUL" dialogue about these topics if we choose to discuss these topics.
****I have come to the conclusion after our last ’discussion’ that (when it comes to politics) your perspective and opinions are not wide or deep (are that the proper terms?) in a way that your perspective is, or the whole attitude toward seeing ’bigger picture,’ when you discuss music. That came as an unpleseant surprise****
So, my political views are not "wide" nor "deep". Hmmm, doesn't sound respectful to me, Alex. In fact, I find it rather arrogant on your part for being dismissive of the possibility that there may be a political outlook different from yours that may have validity; especially one held by someone who you acknowledge is capable of deep thinking. Outlook which is, in turn, judged by someone living in a different part of the world. Why make it personal? Alex, I have no desire to discuss politics with you here beyond cursory and causal comments because, as you point out, it is obvious that we are "far apart" on the subject. What I can tell you is I can accept this difference of opinion and not let it color my reaction to your comments. Frankly, I consider this a shame since I suspect that we could have some very interesting and intelligent discussions on these topics if we had a different setting. I would be most intrigued and interested in learning about your background, your heritage and culture and all that contributed to your point of view. Can you say the same?
It's all pretty funny, actually; especially your comments, Rok. Nicely done; sincerely. Sorry to disappoint you. Subtlety, nuance, good rhythm, good intonation, logic.....like good music. You know all about that, right? There's more than one way to win an argument besides low blows. Watch and learn, your winning record is not that good 😏. Sometimes I wonder what % of the 1.3 million views are for the soap opera instead of for the music.
Frogman, first let me explain one thing where you have missunderstood my words, perhaps my english is not clear enough.
I have said, that (only) in comparation, with your thoughts and expressions, made about music (where you have shoved knowledge and patience, together with abbility to explain things from their origins, or basics, up to their present state) your expressed views about some 'political' things, lack the same perspective (ergo,not so wide and deep as music ones)
Furthermore, I did not want to offend you in any way or form, and if you felt that way, please forgive me.
But, my initial reaction was on Rok's words where he have tried to justificate media propagnada (so called 'right' one) by saying that, on the other hand, many 'bad' things in your society comes beacuse of so called 'left' influences. You supported such 'argument', very fast and even added, that you (as society, or world in general?) should be very aware and on alert from dangers of communism. (not in these words, but in the general meaning)
That kind of statement, imho, is incorrect on so many levels, not only by its contence (in fact, there is not much of it), but it dismisses the essence of proper meanings of 'left', 'right', 'truth' or 'propaganda', not to mention the part about 'boogeyman' (that is dead and burried for almost thirty years now)
The fact, that it came from you (whom I consider educated and organised thinker) struck me much more than pure bluntness of said words .
Now, I agree that this 'discussion' is silly and if perhaps if we put it in a right context and organise it by topics and true meanings (as we discuss music) we could all learn something for each other, or at least agree that we do not agree but in calm and friendly way.
I must add, that I do not consider Orpheus as somebody who share 'my political views' simply because he has not stated any (and I certainly have not said anything about mine) But, his words (or provocation, maybe) was quite innocent, there was no need for me to answer it , from you, even less, I guess.
You have written quite long post, (last time) on which I have choose not to answer, becuse of all things you have rightly stated now. If your words and intentions are true why did you feel the need to comment on such small remark from Orpheus, that was essencially addressed to me?
By doing it, it may look that you consider me as someone under influence of 'media brainwashing', which I would object, simply because I think that I have not wrote anything that might contribute to such opinion.
Of, course, if you have any questions I would be more than happy to answer them if that will 'clear the air'. Rok already has the popcorns and if others would not mind, we could always take the time out and head for 'wrong turn' in our little thread. Hope we'll be back on tracks soon after.
Alex, Rok, and Frogman, there is nothing I hate worse than talking about "nothing"; therefore, I am going to give us something that's certainly worth talking about, and at the same time will indicate who has any knowledge of economics.
An entire group of favorite players. Maybe The Frogman could talk about Sonny Rollins and his place in Jazz. He seems to me, to have sort of stayed above the fray, as pertained to his relations with other players. Is this my imagination, or another of my amazing brilliant insights? There seems to be something not quite right with his story, but certainly not his playing.
*****
Rok already has the popcorns and if others would not mind, we could always take the time out and head for 'wrong turn' in our little thread.******
Wow!! The Frogman has been called out.
Alex: I can't say Communism is the threat, because no country has ever tried it. I suggest you read Ayn Rand. I don't think she ever used the word 'Communist' or 'Communism' in her books. The word she used was 'Collectivism'. That's a word that should scare the hell outta anyone, even if they don't know the official definition of it.
The labor party (the left) in The United Kingdom is now led by a group of men who call themselves 'Trotskyites'.
I had read all of Ayn Rand's books before I knew she was a refugee from Stalin / USSR.
Well, Rok, I know for a lots of places where people on power use the prefix 'democratic', but their actions are far and distant from the needs and will of people (demos). So, we should drop the story's that were invented to scare litttle children ('trotskyites are coming') and talk about reality which is far more scarier.
As for Rand, I do not excpect that you will read or recommend Chomsky, but you could try somebody more serious. Perhaps Friedrich Hayek?.
Also, I think that if we want to have anything close to 'argumented discussion' we should drop any ideology talk aside.
Alex, what you have presented is REALITY, and you have presented it in such a way that no longer can people hide behind words like COMMUNISM or whatever the current "boogy man" word is.
Rok, nothing is more comfortable than having hot buttered popcorn, while watching a good movie; and it's best in a movie theater.
I enjoyed this luxury before the mall closed. It closed for reasons related to that thread I've presented. All of the business closings that happened right around me, also happened all over this country, yet nobody became alarmed, or put the pieces together.
While I can no longer enjoy "a movie buttered bag of popcorn" close by, millions of people all over this country suffered much greater losses. It seems that those who suffered no discomfort, as a result of those events, could care less about those who came upon serious hard times, due to those events.
Your comments, "there will always be poor people, especially in St. Louis" are quite true; but not so many at one time, that's what changes the game, and when every major city in the USA, has the same problem, it's cause for serious concern.
"Nero fiddled, while Rome burned"; we enjoy hot buttered popcorn and a good movie, while the good ole USA goes down the drain.
The most serious aspect of poverty is "culture change"; I am afraid, with good reason, of going back to a neighborhood I lived in for 30 years. When people are born into a world where selling dope is the only way to make a living, we're in trouble.
Since Frogman wouldn't let me get back to our regularly scheduled program, I wonder how does he like this one. But I still say;
Rok, the Sonny Rollins Quartet, with Coltrane was good easy listening jazz with five old pros; that contrast between Rollins and Trane was very interesting, I don't recall hearing both of them together. Red Garland and Paul Chambers made that a perfect outing, I'll have to get it.
Randy, "Grace Kelly" is an unusual name for a Japanese Lady, but I liked her good time fun music. I think they called it "Smooth Jazz", which makes it unpretentious; not trying to be in the "heavy jazz" class. She seemed to really enjoy blowing the sax, and I always like that.
Kamasi Washington, is someone whose new to me; as a matter of fact, both artists are new to me. Kamasi seemed to be striking out for new land, that vocal background added a real nice touch.
Alex, this is the first time I recall those two together; I had to listen for awhile to distinguish between the two. I like that piano; when I can't name the piano man, but still like him, that's good.
"Newk" is jazzier, riffs more, while Hawk is old blues, "the mellow fellow"; just listening and letting Hawk soak in on "Summertime" . "Old Friends" sounds like Hawk on the lead off solo, but now I hear "Newk"; are they trading solos? This is good listening.
Frogman is evidently giving much thoughtful consideration to the link in question, which is a good thing. In the meantime we can get back to our regular scheduled program.
The only "new" jazz I hear, is what you submit, or the only new jazz that's worth listening to. When I find new jazz that's been reviewed in current magazines, I wonder why they took the time to review it.
Everybody is batting 100 on their submissions, even when it's not in the "classic jazz" category, it's good music worth listening to.
Grace Kelly is Korean-American - from Boston IIRC. Her mother remarried a guy named Kelly, hence the surname.
She was part of Stay Human on the Late Show for awhile - I suspect she left as she has her own band and needs to tour.
She is a child prodigy and there are some videos on youtube of her as a child with a sax as large as she is propped up on a support so she can hold it.
It will be fun to watch her evolve with age.
----
My biggest hope is that reincarnation is real and so Trane will return...
but we are just lucky to live in an era of recorded music.
Thanks for that info Randy; I'm glad I discovered those facts from you, otherwise it could have been embarrassing if I saw her live and made that mistake.
As good as she is now, I'll keep my eye on her as she evolves.
****Frogman is evidently giving much thoughtful consideration to the link in question,****
Well, O-10, I am glad you look forward to my comments so much ☺️. Sorry to disappoint you; but, nah!, been getting our upstate digs ready for the winter. I did listen to that record while riding my tractor and mulching about five acres worth of Fall leaves.
Alex (and O-10, of course), I’ve had that record for many years. It’s an interesting record on a few counts. Hawkins was one of Rollins’ main influences; primarily in the area of tone. Rollins adopted Hawkins’ very muscular tone concept and is known to have admired Hawkins for an approach to improvisation which was (fasten your seatbelt, O-10) as Rollins himself is quoted as saying, more "intellectual" than other players’ of Hawkins’ generation.
These are/were two undisputed giants of the tenor saxophone. Hawkins is considered to have been the link between the great swing tenor players and the beboppers. His solo on his recording of "Body And Soul" is considered one of the all-time classic jazz solos; a groundbreaking solo that took improvisation from the very linear and traditionally melodic style of players like Lester Young to a new place of wider intervals and more "intellectual" outlining of chord changes, a style that reached full expression years later in John Coltrane.
Sonny Rollins, while retaining the husky tone style of Hawkins got rid of much of the breathiness (subtone) in the sound and the tendency to end every phrase with very obvious and wide vibrato; both, telltale signs that a player is coming out of the swing tradition. He further took the harmonic vocabulary to a whole other place with a much more extended harmonic approach (playing outside the more traditional chord structure) for a far more interesting harmonic palette. He also uses a lot of humor in his playing with phrasing and rhythmic choices that sound downright silly at times. At one point (22:57) in "Just Friends" ("Old Friends"??) he quotes "How Are Things In Glocca Morra" (from the Broadway musical Finian’s Rainbow) of all things; but, as a mark of his genius, makes it work. As I said, I find the record interesting, there is a lot of great playing and there is undeniable charm in Rollins paying homage to one of his heroes. However, I don’t find the record particularly enjoyable.
Much has been made of Hawkins’ ability to play in a modern style or a more modern setting; I’m not so sure. Listen to "Body And Soul"; it is an absolute gem. That’s the style that Hawkins plays best and sounds most credible in with a rhythm section that is also in that stylistic frame of mind. He can sound exciting in some ways playing an uptempo tune like "Just Friends", but....there’s something not quite right. He was, in his heart of hearts, a great swing and ballad player. There is sometimes a kind of stylistic disconnect between the rhythm section and Hawkins. Likewise, when Rollins follows Hawkins, the rhythm section doesn’t switch gears and Rollins’ stylistic quirkiness and humor can sometimes sound like a "bull in a china closet" with the rhythm section sounding like it is just keeping time and not interacting with what he is playing like they should. I suppose all this is relatively subtle; but, I prefer to hear each player in his own comfort zone. My favorite Sonny record:
Frogman, you're an odd 0ne; "Bait and switch Frogman" I dub thee;
You object to my involving you in a another discussion about politics. If that offended you, my apology. However, I need to point out that you had already involved yourself with your "torture chambers in Guantanamo" comment. Although I doubt it, perhaps your comment was meant solely as humor; not a topic that has much room for humor. Not being from this country and perhaps because of your political orientation, you may not be aware of the fact that this is a political topic that is highly "charged" in this country; however, I am sure you are aware of this. I need to also point out that while you object to my involving you, you don't seem to mind, and conveniently overlook, the fact that O-10 first involved you; and, at the expense of other participants here. Why did you not object to that, Alex?
"Torture chambers in Guantanamo" was used humorously by Alex, but I'm using as a fact, since you mentioned it.
Now you come back all nicee nice telling us about mulching leaves, when it was you that got me back into this conversation after I had dropped it "What's your point"?
And here you come with another one of your long diatribes that speak volumes about something Alex didn't say, but after you twist it around to the Frogmans way, there no telling what anybody said.
I must admit that of all sax greats, Rollins is one that I have least record of. Somehow his tone or expressing always felt kind of 'hard' to me. But, Frogman, thank you for your explanation, it kind of 'gives the words' to thoughts. On the other hand, I liked the 'Bridge' , maybe because of the line up, the overall sound seems different that on the others his albums that I have listened. Except from 'S.R. and Contemporary Leaders' I have these albums, from his 'later' phase (it was coincidently my 'earlier', in terms of jazz evolution)
Somehow, with time, I am going backwards (at least in jazz) to the more simple form of expressions, but I find them to be more substantial.
Orpheus, if I may, please do not look for every oportunity to 'pick up a fight', I realy think its not doing any favours to a thread, aldo some may find it amusing.You know, popocorns with butter and all that....
Alex, I am very glad you like "The Bridge"; personally, I think it's a brilliant record that belongs (and is) in many "best ever" lists. You know, although the brilliance of Sonny as an improviser is heard in just about everything he did and does (!), I agree with you that there are some aesthetic issues in his playing. You mention "tone". It's interesting because while his tone is not "hard" and edgy the way that, say, Coltrane's was, and was rather dark and not bright like Coltrane's, one of the very distinctive but idiosyncratic characteristics in Rollins' playing is a very "hard" way of articulating notes and phrases; the way the player attacks the notes with the tongue. Also, and I think this goes to one of the most interesting and beautiful things about players and their music, it's almost impossible to separate tone from attitude. You are exactly right, his tone sounds hard because his musical attitude is hard. Interestingly, while Coltrane's tone is actually "harder" still (in technical terms) his attitude is gentler because of the deep sense of spirituality in his playing; and, what to me, is a sense of humbleness. I hear neither of those things in Rollins' playing. Still, Rollins is one of the great improvisers. He has a very forceful way with rhythm. To me, while many players seem to play with or TO the rhythm section's pulse, with Sonny it is almost as if the rhythm section is playing to HIS rhythmic impetus; a very commanding player (no humbleness).
Thanks for the clips. I don't think there is any "bad" Sonny Rollins record, but I must say that I don't particularly like just about all that he did from the 1970 onward. I have every record that Sonny recorded as a leader and those two are, unfortunately, not two of my favorites; I have a strong suspicion that they are not your favorites either. Ironically, and in spite of his brilliance, I don't think that his experiments with quasi-fusion and more contemporary "sounds" are his best efforts. No reflection on the style of music itself, just not his "comfort zone", imo. Two other favorites if you haven't heard them:
Probably on even more "Best of Rollins" lists than even "The Bridge" (still my favorite):
*****
I am afraid, with good reason, of going back to a neighborhood I lived in for 30 years. When people are born into a world where selling dope is the only way to make a living, we're in trouble.*****
People from Mexico and other Central American countries go through danger and degradation to make it into this country. If they travel up through Mexico they are treated like crap by the Mexican police and government. They get caught by the U.S. Border patrol most times and are sent back, then they go through the whole thing again. Finally they make it across, and if the survive the Deserts of Arizona and New Mexico they have a good chance of making to family and friends in the USA.
If they make it, to say, Baltimore, on a Friday, they are on the JOB Monday morning.
If they are Korean or Chinese, they may clean the toilets at the local airport, but their children go to Harvard.
So stop boring everyone with that 'woe is us' BS. They sell drugs because it's easy to do. And going to jail is just like a family reunion.
There is a lot of comfort in numbers and it is one of the toughest challenges and a great test of a horn player's mettle is to play with a rhythm section without a harmony instrument. Playing without a piano or guitar is a little like being naked. Any bs in a solo is laid bare. Not only is there less "clutter", but without the harmonic underpinnings supplied by the piano the improviser has to play in such a way that the listener can still follow the harmonic progression of a tune. The player has to have such complete command of the harmony of a tune that by playing a single note at a time the harmony is conveyed. Even many of the greats depended on being able to hear the harmonies while improvising; in a sense, it's a bit of a crutch. Few players could do this as well as Rollins. There is a reason that so many of the "greats" never rose to the challenge; and this wasn't always simple preference.
Acman3, amazing! Thanks for that clip. Probably my favorite Sonny record after "The Bridge". His command of rhythm is simply amazing. This track is from the reissue of that record. It's a two record set that includes several cuts not in the original release. Elvin Jones kills on this:
Ghosthouse, I really liked the Neil Cowley clip; thanks for that. Interesting stuff and very well executed. Don’t know if you like or are familiar with "minimalist" Classical music, but this is the second time that you have posted music that shows a "minimalist" influence or vibe. Check out some of the music of John Adams if you haven’t already. Would be curious what you think.
Hello again Frogman. Well, good to know there's at least one adventurous soul on this jazz thread. Always pleased to find shared appreciation of music I like. Neil Cowley is new to me too. Apparently the darling of some of the critics which tends to make me suspicious - especially if you read their over the top superlatives. I try not to hold that against him! There is something really powerful and almost hypnotic about that "She Eats Flies" live performance. BTW - We have cats. All indoor. They eat flies.
Stumbled on NCT "Spacebound Apes" first via a Spotify recommendation. Like it. Wish it were longer in the sense of more elaboration of the various song ideas. Haven't given Displaced (album with Flies) a full listen yet but planning too.
Yes...I'm familiar with minimalist Classical though hardly expert on the genre. The Kuba Kapsa Ensemble's Vantdraught 10 that I posted for Inna (though he wasn't having any of it) draws heavily from that style. Rachel Grimes and Rachel's are also influenced by minimalism. Can't recall who her big influence is...maybe (Geoffrey Burgon?). Saved him but have not listened yet.
I know Adams name and connection to minimalism but have not listened to him. Terry Riley might be another I'm vaguely familiar with. Obviously, you can't avoid Phillip Glass. He does get a little repetitive (hahaha). I do like his Koyaanisqatsi however.
Good listening to you and thanks for the comments.
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