In my taste Taylor´s best period, mostly because of his buddies. In this 1960 record there are a still revolutionary Archie Shepp, Bull Neidlinger and Dennis Charles. The antagonism between pulsating rhythm and free improvising makes it even more exciting.
It used to be easier to pretend that an album was its own perfectly self-contained artifact. The great records certainly feel that way. But albums are more permeable than solid, their motivations, executions and inspirations informed by, and often stolen from, their peers and forbearers. It all sounds awfully formal, but it's not. It's the very nature of music — of art, even. The Six Degrees features examine the relationships between classic records and five… more »
Ask a jazz fan about Herbie Nichols, and the reaction is likely to be either, "He's a genius," or "Who?" The pianist and composer is the paradigm of a genius neglected in his own time. Nichols's classic mid-'50s sides for Blue Note were all but forgotten when he passed at 44 in 1963. A.B. Spellman memorialized him with a chapter in 1966's Four Lives in the Be-Bop Business, but he didn't get much respect till… more »
It wasn't easy, being the interracial Blue Notes in 1963 apartheid South Africa: a black horns-and-rhythm combo with a white pianist/music director, Chris McGregor. They skipped out of Cape Town the following year: went to a French festival and didn't return. In London by '65, the quintet's members were welcomed by forward-looking jazz musicians: Steve Lacy drafted bassist Johnny Dyani and drummer Louis Moholo for the album The Forest and the Zoo, and an ill-fated… more »
