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50.174.133.220
Black
White
Walt and RA
Peter Ind (UK)
Frank Lowe on Black Saint
Jarman on Delmark
Frank Wright on ESP
Eddie Gale
Charles Tolliver on Stata East
Sonny Sharrock
Jerome Cooper Solo
Archie on Horo
David Murray on Circle
Noah Howard on Alstax
Bill Dixon on Savoy
Milford Graves on IPS
Archie and Bill
Edits: 08/17/16 08/17/16Follow Ups:
So...care to share a bit of your musical journey? Did you take to this genre upon first hearing or did you start out with say the Partridge Family or some such and after a long musical journey eventually wind up there. What other musics float your boat?
I guess I could search the archives but just curious to see a concise synopsis.
Great stuff for sure! Thanks for sharing.
;^)
I started buying 45's when I was 10 (1974). Shitty pop stuff sold at Grant's Dept store near my house. My first LP was Elton John Caribou. I loved Elton and then the Who. In 6th/7th grade I discovered Alice Cooper and then everything else. Got into Bowie and then new wave and punk.
The cool guy at the record store turned me onto Coltrane and Ornette when I was in 11th grade. From there I just tended to prefer the outside people and with the guy's help started exploring artists like Noah Howard and Frank Wright and Sun Ra etc. The music almost always spoke to me.
Today listen to all kinds of music, some classic rock, metal, old country, opera, early reggae, soul, prog, etc. But my favorite stuff has always been heavy rock and outside jazz.
P
Thanks for your response Pete. I was a child of the 60s'. My musical journey began with my Dad, fresh from service with US armed forces, moving his young family into a new community that was conflicted about having us as neighbors. Being all of 5 years, my parents thought giving me a radio might be a safer outlet than a hostile neighborhood could provide.
Exploring the AM dial I found WRCP(Real Country Power) and learned of Patsy Cline, Jimmy Dean, Bob Wills and other country stars. Fun music for me but then I heard my Mother listening to Nat King Cole, Tony Bennett, Ella Fitzgerald and Frank Sinatra. Singing was not uncommon in our house and I fell right in line.
Years later in high school I got a newspaper route and discovered micro transistor radios. While folding and delivering newspapers I discovered Motown made the task even more fun.
Smokey Robinson, the Supremes, the Temptations and Aretha Franklin accompanied my newspaper deliveries.
My Dad became friends with a gentleman he met at his job named Ralph Collier. Ralph Collier was a long time radio personality on Philly radio. He would often gift books and LPs he had received, for review purposes, to my Dad. Dad would hand me a stack of 15 to 30 brand new LPs every other month or so and I was in heaven. My Dad listened to jazz but not that new fusion jazz by Miles and other artists. Rock, jazz, folk, and electronic music LPs were handed to me and I devoured them all.
Today I continue to enjoy a varied palette but I tend to the more experimental or avant garde in all genres. It's been an exciting journey.
Thanks again for sharing.
Still spinnin'...(and exploring)
;^)
I once had the pleasure of hearing Frank Wright with Dewey Redman, Kidd Jordan, Sonny Murray, and Elton Heron in a tribute to Albert Ayler in 1989, and this show really opened my ears to the more out free jazz. They were the opening act for Ornette and Prime Time-I was already a huge Ornette fan, although not so much of Prime Time.
I am a child of the 60's (b. 1959) and I was faculty brat in Lancaster, Pa with two older siblings. My father was a violinist, and my parents were huge chamber music fans. We also had all the requisite left-liberal music of the time: from Tom Lehrer to Joan Baez and Simon and Garfunkel. Of course I was a big Beatles fan and then got into the Stones, and we were pip squeak identifiers with the counter culture. As a teenager, I listened to WMMR in Philadelphia, a leading free form FM station of the time, and I started to get into British folk rock, and the radio even gave us our first taste of punk attitude via Lou Reed, Patti Smith, and even the Modern Lovers. I arrived in college at the beginning of the punk explosion (1977) and the hip Manhattan kids turned me onto that scene. At the same time, my interest in older rocknroll forms and classic r' and b' deepened, and I after graduation I was a research assistant for a book on the structural basis of rocknroll by one of my professors.
I moved to New Orleans in 1984 for the music, and got to hear most of the 60's r'and b' greats from here on a regular basis. And the brass band music revival was just starting, with the Dirty Dozen updating the style with bebop, funk, and street beats. The Wynton neo-con jazz revival had a big influence here, so I was exposed to a lot of straight ahead jazz, which helped me to learn to listen. My musician friends were more eclectic in their taste, and they turned me on to more expressive forms of jazz. My first real enthusiasm were blues based: Monk, Mingus, and especially Ornette, who of course has the reputation of being difficult but to me his music sounded uncontrived (unlike much "modern jazz) and direct. Of course New Orleans is associated (now more than ever, "thanks" to the unfortunate alignment of the musical institutions with the tourist industry,) with trad jazz and swing, but all through the 90's Latin, funk, klezmer and brass bands were what played on Frenchmen Street, providing space for improvisers to play within social and popular music forms. While free jazz has always been a very underground thing here, I have had the opportunity to hear Kidd Jordan (81 year old free jazz icon and long time educator) over a hundred times, and learning how to listen to him opened my ears to all sorts of adventuresome music. And over the past 20 years we have had a near endless parade of American and European free jazz and improv icons visit and collaborate with local musicians.
Looking back on my musical history, I realize is what I value most is expressiveness in the service of community (as opposed to solipsism.) A musician friend once said I like my rocknroll stupid and my jazz smart, but in fact when formal experimentation becomes an end unto itself I tune out, whether it is prog rock or "progressive" jazz. Some musicians can say it all with one note (I once heard B.B. King kill'em with just the first note of "The Thirll is Gone,) others (Coltrane, perhaps) need all the notes and then some, but in the end it is the communication that counts--otherwise, in the words of the great James Brown, "you're just talkin' loud/and sayin' nothin'."
Two from Anthony Braxton:
A rare one on Strata-East, lead by M'tume
One by the great Julius Hemphill:
Great additions. I love that Mtume LP.
Yeah, one of my best $0.25 finds! (30 years ago . . .)
Meant **all** this great stuff...I could have a very nice three day weekend with some wine and all these albums you've posting!
Edits: 08/18/16
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