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Excellent answer

I think Bill Graham was most responsible for the hippie/jazz crossover as he was always promoting shows that tried to link hippie/rock music to its African American sources. A bit after the hippie era per se Ornette (and David Murray as well) performed with the Dead. The story I heard was that somehow Ornette and Cecil Taylor ended up at sold out Dead show at Madison Square Garden and were blown away by the size and response of the audience (since neither, for all the respect they garnered as "great artists" later in live (after hard lives of struggle) had access to anything like that.) I they wanted in, figuring if the audience could be so into the somewhat aimless Dead noodling that their music should be able to reach that same audience.

To my ears however the timeless hippie aesthetic is not nearly rigorous enough to deal with high level jazz musicians no matter how far out. I am reminded of this every year at Jazz Fest time when our New Orleans clubs are overloaded with "jam bands" and their fans from all over all trying to rub some New Orleans presumed "authenticity" on their noodly asses. The archetypal "superjam" gig of this sort is what I call the classic Chinese menu family meal approach (i.e. "one from column A, one from column B")--take a few jam band icons from different bands and add an elder respected jazz/funk musician (Lonnie Liston Smith maybe) a member of local band Galatic and a New Orleans jazz icon (Donald Harrison, Johnny Vidacovich.) And then play amorphous funk jams in F all night long. I remember one Jazz Fest Saturday running into Johnny Vidacovich leaving Snug Harbor jazz club around 1 AM. He excused himself saying he had to make it uptown to the Maple Leaf by 2 because "they are playing me big bucks to play back beats all night long."


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  • Excellent answer - belyin 18:08:37 02/05/21 (1)

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