Steve has the Lehman's view, meanwhile Tal's on furlough.

[Serial_Apologist]

Sat 23 May
5pm - J to Z
Julian Joseph with a session from keyboardist Rebecca Nash and her group Atlas, who perform from their debut album. And Dallas-born vocalist Jazzmeia Horn discusses her inspirations.

Note: this is a repeat.

http://www.bbc.co.uk/programmes/m0008vz1

12midnight - Freeness
Saxophonist Steve Lehman offers a series of solo vignettes recorded in his car during lockdown. After realising that he wouldn't be able to be with his mother for her 80th birthday, he created a gift that pays tribute to the wide array of music she introduced him to as a child. And there's a recording by Joëlle Léandre's tentet performing performing her long-form piece Can You Hear Me?, an allegory of talking and listening recorded last November at the Tampere Jazz Happening festival in Finland. Presented by Corey Mwamba.

Mlle. Léandre is a French bassist who has often collaborated with our very own Maggie Nicols. Just thought I'd let you know, ahem.

http://www.bbc.co.uk/programmes/m000jg8f

Sun 24 May
4pm - Jazz Record Requests

Alyn Shipton with records by the Thad Jones/Mel Lewis Orchestra, Tubby Hayes and Tal Farlow.

http://www.alynshipton.co.uk/blog

http://www.bbc.co.uk/programmes/m000jdyy

And the final part of A History of Black Classical Music - Mother Country, brings the story up to date at 11pm...
... focusing on the impact of colonialism and immigration on classical music, plus the history of black composers in the UK.

... of whom presenter Eleanor Alberga just happens to be one, a very good one.

[Serial_Apologist]

Fantastic compelling opening track from Rebecca Nash's outfit - I thought I was listening to some American band from the early 1980s. How come I must have missed this broadcast first time round?
#
Ah yes, I remember now praising her to the skies when reporting on Dee Byrne a couple of years ago. Great work from guitarist Seminar Ford*: I hope our regular guitarist and poster hears this.

*(I'm wondering about his name - could he have been conceived at some weekend seminary?)

[Serial_Apologist]

Here's a link to a review of the Nash album from which the track was taken:

http://www.thejazzmann.com/reviews/review/rebecca-nash-atlas-peaceful-king

I see this broadcast first took place on 28 September last year; it got mixed responses, to say the least! Here's the link to it:

http://www.for3.org/forums/showthread.php?20790-Putting-Rebecca-on-the-map

[Serial_Apologist]

Reading my exchange with Ian following that broadcast last September, I feel I have done my best to explain my point of view in the reply I gave the other day in the The only film of Hank Mobley thread. We do manage to agree on many aspect of the music, particularly as regards straight ahead drummers; where we disagree is having basic differences over what it is that turns us onto jazz, whch I think reflect our points of entry into the music at formative stages when the music was going in very different directions, for very different reasons in the 1980s from the 1960s. The 1980s was very much "about" going back over the two immediately preceding eras and dotting the i's and crossing the t's in the spirit advocated by Wynton Marsalis, while - as Matthew Shipp observes about his own early formation - the free scene, then seen as running out of steam and redolent of an era replaced by Thatcher/Reaganomics, was relating to Punk, post-Punk and Electronica, considered as being outside the province of jazz proper. Many of us who went through the trad/modern "divide" in the early 1960s still find it as difficult to identify with earlier, vintage stages in jazz, as I personally find in approaching Beethoven or Bach. I can appreciate Bach, Beethoven and the Louis Armstrong Hot Fives and Sevens for their musicianship and innovativeness in their time, but in terms of how what they achieved was followed up and developed. In part they had their chances; those then or subsequently seen as minor figures unjustly sidelined as a result by history can now be discovered or rediscovered through long hidden recordings and biographies by enthusiasts.

The sixties was a very special time to have lived through - we were exceptionally lucky, even if, like me, you were too shy to have participated other than as envious onlookers! It is understandable (I hope!") why those of us who followed the likes of Kenny Wheeler, John Surman or Norma Winstone were enraptured by their reception in the heartlands of the music by people such as Tony Williams, Jack DeJohnette and Peter Erskine - an appreciation that both embraced and went wider than their musical contribution, rooted as it had been at a time when jazz was in the process of questioning its claim to be valid only as developed by Americans, and preferably black ones at that, to become the universal means of musical expression and convivial performance it has become, which the Ronnie Scott and previous generations had felt themselves tlo be mere second hand imitators of. Jazz had shown itself generous enough that you no longer needed to be American or even black to have something of your own to add to it - which - in case there is any misunderstanding - is in no way to deny black people across the world access to its means of channelling specifically back-originated means of music making at one time repressed or misrepresented, underpinned by a spirit long lost to Western musical cultures!

[Ian Thumwood]

SA

Everything that is noted as being significant in the 1960s already had it's antecedents in the 1920s. I would argue that that 20th century did not begin in earnest until the 1920s even if the antecedents of "modernism" probably goa far back as the 1880s / 90s' . For me, the great thing about a lot of "avant garde jazz" is that someone like Freddie Keppard would still have been able to recognise it as the same kind of music. It is not important whether something is cutting edge or even of the moment - as long as the artist is true to themselves, the music will endure.

[Serial_Apologist]

SA

Everything that is noted as being significant in the 1960s already had it's antecedents in the 1920s. I would argue that that 20th century did not begin in earnest until the 1920s even if the antecedents of "modernism" probably goa far back as the 1880s / 90s' . For me, the great thing about a lot of "avant garde jazz" is that someone like Freddie Keppard would still have been able to recognise it as the same kind of music. It is not important whether something is cutting edge or even of the moment - as long as the artist is true to themselves, the music will endure.

Indeed! I don't think I've said anything that disagrees with that.

[Old Grumpy]

Fantastic compelling opening track from Rebecca Nash's outfit - I thought I was listening to some American band from the early 1980s. How come I must have missed this broadcast first time round?
#
Ah yes, I remember now praising her to the skies when reporting on Dee Byrne a couple of years ago. Great work from guitarist Seminar Ford*: I hope our regular guitarist and poster hears this.

*(I'm wondering about his name - could he have been conceived at some weekend seminary?)

What's a weekend seminary? If they do exist, the conception would be immaculate, perhaps.

[Serial_Apologist]

What's a weekend seminary? If they do exist, the conception would be immaculate, perhaps.

If you've never been to a weekend seminary, you don't know what you've been missing is all I can say.