About the author
Since the late 1960s I’ve written about music for the Melody Maker, the (London) Times, the Independent on Sunday, the Guardian, Down Beat, Jazz Journal, Mojo, the TLS, Granta, Uncut and other publications. A list of the people I’ve most enjoyed interviewing during that time would include Marvin Gaye, Laura Nyro, Booker T. Jones, Miles Davis, Curtis Mayfield, Charles Mingus, Brian and Dennis Wilson, Smokey Robinson, Terry Riley, Max Roach, Mable John, Ornette Coleman, Steve Cropper, Chet Baker, Isaac Hayes, Mac Rebennack, Phil Spector, Ry Cooder, Gladys Knight, Lou Reed, Bob Marley, Ellie Greenwich, John Lennon, Allen Toussaint, Elvin Jones, Bruce Springsteen, Stan Getz, Boz Scaggs, Nico and Martha Reeves. My books on music include Out of His Head: The Sound of Phil Spector (1972), Bob Dylan: A Man Called Alias (1990), Long Distance Call: Writings on Music (2000) and The Blue Moment: Miles Davis’s Kind of Blue and the Remaking of Modern Music (2009). Served a very happy three-year term as artistic director of the Berlin jazz festival from 2015-2017.
thebluemoment.com 
Good luck with this. Beautifully evocative and steeped in detail. Best of all I can hear your voice.
Thanks, Kevin. I hope you continue to enjoy it.
Dear Richard, A belated thank you. Back in 1978ish I published an LP of my own work “Descriptive Improvisations – guitar solos.” You reviewed it in the Melody Maker in a joint review with an album by the Durutti Column. “It may be no more than pastiche but at least he’s trying” is a sentence which stuck with me over the years. A few years ago someone posted a track on Youtube much to my surprise. Thanks to those who took the trouble to listen to “Derbyshire CAaves’> Once more, many thanks.
Dear David — Well, that’s a surprise! Glad you didn’t hate me for it. Did I happen to say what I thought it was a pastiche of? Best, RW
Hi Richard
Re your blog on Cash – it’s his childhood home in Dyess that is slated to become a tourist destination. His home in Hendersonville – the one on the lake – burned down shortly after his death.
Steve
Martin Colyer put me onto this blog, which has stirred up lots of memories – espeially of the Jazz Centre Society’s Monday night gigs at the 100 Club, where we were both regulars.
By coincidence a friend had given me some Bob Downes reissues and Mike King of Reel Recordings had sent me a copy of his latest issue of Brish Jazz in transition, assembled from private recordiings and cassettes. It goes with Duncan Heining’s book “Trad Dads..etc”. It underlined to me just how good the music was about 1967 – 72: Mike Taylor, Joe Harriott, Mongezi Feza, Chris McGregor, Dudu Pukwana, Ian Carr and many others were pushing the boundaries of music. It’s an unforgettable reminder of the period and of many departed characters. But it’s also a reminder of those still performing: Gary Windo, Kenny Wheeler, Stans Tracey & Sultzman and the incredible Norma Winstone (heard here with Graham Collier). There were giants on the earth in those days, and some are still around.
Your blog is also very welcome for its breadth of music. I was part of a purist Jazz coterie but was a closet listener to Dylan, Beefheart, Terry Riley, Zappa and Tim Buckley. Your writing at the time gave me many paths to explore and it is very gratifying to see that those paths are still being kept clear and new ones opened up by your “Blue Moment” book and this blog.
Congratulations!
George Foster
Very good to hear from you, George. Glad you’re enjoying the blog. The memory of those Monday nights at the 100 never fades.
Great to come across this blog. I’ll never forget working at Virgin Marble Arch when one time we were playing The Skys The Limit by the Temptations; suddenly you stuck your head around the corner to give us the thumbs up. It made our day! Mind you the record deserved it and is still insufficiently acclaimed, I think. (People seem to have forgotten Smokey’s Quiet Storm too.)
You must have been playing the epic “Smiling Faces Sometimes”: best-ever use of bassoon on a soul/R&B record… And Quiet Storm was a wonderful album, particularly the title track.
Dear Richard, I’m very pleased to have discovered your new blog, there’s lots here to catch up on. I just skimmed through and lovely to see Don Cherry outside Munich KunstHaus. I think my musical taste was formed by many of your recommendations in the Melody Maker and on Disco 2 too! Keep up the good work. I’m pinning The Blue Moment to my blogroll. Best wishes, Chris.
Thanks, Chris. Much appreciated.
Terrific blog, Richard. Just came across it today as a Twitter neophyte. I recall emailing you on your journalistic versatility a few years ago when your reply suggested you were considering setting up a music-related blog/site. I am therefore claiming a morsel of credit for the inspiration !
Some wonderful writing within. Good of you to remember the late Kevin Ayers.
Keep it going !
Paul Crowe
Hi Richard, given your enthusiasm for both music and motor racing, I thought you might appreciate my rather tenous linking of Django Reinhardt and Ayrton Senna: http://www.f1professor.wordpress.com
I just read your excellent piece on Chet Baker. Can´t say I´m a genuine jazzfan, but I just had to check out the Tokyo concert after I finished reading. You were – of course – right. A truly splendid album. / regards Pierre Ragnehag, Sundsvall, Sweden.
Richard – a Facebook post by Michael Cuscuna alerted me to the existence of this blog. Your ’70’s Melody Maker output was a fundamental source in shaping my youthful taste in challenging music, and I’m delighted to renew my connection with your music writing.
That’s very kind of you, Jon. Thanks.
If memory serves, you once wrote a glowing preview of a demo of Sly and the Family Stone’s ‘Fresh’ in the Melody Maker. Shortly after, when the actual album came out, it consisted of different takes and mixes of almost everything – and you wrote a somewhat disappointed re-review. That, of course, immediately made the alternates something of a Holy Grail for funk fans. The five added tracks to the ‘Fresh’ remaster of a few years ago somewhat assuaged the decades-long curiosity, but…now I find that the initial 1991 cd issue mistakenly had an alternate mix – presumably the one you first heard back in 1973. On its 40th anniversary (released June 30, 1973 in US, at least), any reflections on this tangled ‘Fresh’ history?
Hi Richard – stumbled on here via a Cafe Oto retweet and spent a very enjoyable time re-acquainting myself with your music writings. As always, impressed with the breadth,depth and eclectic range of your sonic interests (something in the East Midlands air back in the old days,perhaps?). Look forward to more…
Wonderful blog, Richard. I’ve recommended it to my friends here, in Spain. Thanks, maestro.
Good piece. My own take on the evening, perhaps more from the heart than the head, at http://nicelyoutoftune.wordpress.com
I really enjoy reading your blog Richard – long may it continue.
Hope you can write about Don Cherry or Roy Haynes in the future…
I’m reading Philip Larkin’s letters at the moment, and found an interesting snippet: he references a 12″ recording of Summertime by Bechet on which the musicians ‘burst into spontaneous applause at the end of the record’.
The notes say: recorded in 1939 for the fledgling Blue Note label as a farewell to Tommy Ladnier, a friend of Bechet’s, who died four days previously. It was Blue Note’s first hit etc etc
Some sentiment.
HI Richard
I know I’ll enjoy reading whatever you write, just like I always have.
CC
nice blog m8..looked high & low..ya missing a little gem..Mick Farren’s Tijuana Bible
I found your blog on a link from “The Band” Guestbook today. I’ve often quoted you as the one reviewer of the 70s who I trusted blindly. I always read you and Chris Welch and found if you liked it, I probably would, and if Chris liked it, I probably wouldn’t, though you must have coincided sometimes. I enjoyed Chris’s writing, but was never into Yes.
I still thank you for your review of the 1971 “Link Wray,” an album which has given me forty years of pleasure. You compared it to “The Band.” But I do urge you to get the full 4 CD / DVD version of “Live At The Academy 1971” by The Band. The soundboard mixes of the complete December 31st show by Sebastian Robertson (Robbie’s son) are definitely different and crackling with sheer energy.
Just a footnote on your Bobby Parker piece…..as you said, his single was one of those that defined the sound of the British breakthrough, and most of those groups playing live in ’63 and ’64 included it in their repertoire. Cliff Bennett sang it well, the Yardbirds got the riff right, the Beatles built on it in a couple of songs….I, not a musician but an occasional writer, assumed, by 1970, that every single British rock player of that period would have heard it….and I made a terrible error, in the early 70s, when I was the question setter for Johnny Walker’s Pop the Question, an insert in his Radio 1 series of the time, of asking the celebrity guest, Elton John, the question: ‘What was the B side of Bobby Parker’s most celebrated single’. Elton, not knowing, nearly hit the roof….and whoever produced the programme was on to me that afternoon saying, ‘that was an impossible question!’. I’m still not sure if it was.
Hello Richard,
Watching The Necks at Cafe Oto last night – and with a ticket in my pocket for Lee Konitz’s gig in a couple of weeks – it occurs to me there’s a fine documentary to be made about the nature of improvisation. If I was a radio producer than a trade magazine publisher I’d be commissioning the work right away.
On the one hand you’ve got a trio that never rehearses and never plays the same thing twice, and on the other there’s this virtuoso alto saxophonist who has been improvising around the same core group of tunes for more than 60 years. And The Necks and Lee Konitz both sound as fresh as spring daisies. How do they do it?
Coincidentally, I was listening to an LP of David Oistrakh playing Beethoven’s violin concerto the other day and the cadenza he plays is an improvisation too, but it seems to me it’s become fixed in stone in the same way as Richie Blackmore’s guitar solo on Smoke on the Water. An improvisation once upon a time, but never again, and now it’s some kind of show piece.
In any event, it was nice to talk to you briefly yesterday evening. Thanks for pointing me to your blog, and of course for reminding me of the bad news about Dupree Bolton!
Best regards,
Chris
Hi Richard, glad to have caught up with you after all these years – I still have that fond, gob-smacking memory of listening to Astral Weeks for the first time with you, in the MM reviewing room. I look forward to following your writing here …
Great to hear from you, Jeff. Still playing, I hope.
Yup. Too late to stop! Here’s a taste :
Dear Richard, Over the years I have really enjoyed your writing about both music and sport. As a boy i was mad about football, and would get on the train to school from Bellingham station in the sixties clutching my copy of ‘Goal’. My dad had a season ticket at Stamford Bridge and so I got to go with him in the old East stand so see Cooke, Osgood, McCreadie etc. Various celebrities would arrive in the bar, Richard Attenborough, Racquel Welch!
Meanwhile my friends , who were not the least bit interested to know that Bobby Tambling had scored five against Aston Villa, would be there clutching their pristine copy of Melody Maker and showing off their latest vinyl purchases, early Fairport, John Mayall, Chicken Shack, John and Beverley Martyn, Free.
I gradually started to take an interest, and soon was going to gigs with them (plenty to choose from in London) and started my own music collection, which has broadened and developed over the years.
This combined interest has continued, and I have been blessed to get so much pleasure from both areas. The sporting side ended up being my job, and I have had much enjoyment from being a P.E. teacher since 1977 (just retired!).
So how did your journalistic career develop in the two areas? I seem to recall reading your musical work in ‘Street Life’, and have read your wide ranging sports writing , mainly in the Guardian. A couple of years ago I realised that I had read ‘The Perfect 10’ and ‘The Blue Moment’ within a few months of each other.
Do you think there is any kind of link between the two areas ; the way that both seem , on occasion, to touch the human psyche in a really powerful manner.
Do you have a sporting blog?
I really enjoy receiving your blog alerts, and am thrilled by the diversity of the music,
the historical perspectives, the links to a wide range of cultural events and the eloquence of the writing.
Thank you.
Gregor Alvey
Dear Gregor — Many thanks for your kind words. I’m lucky to have been able to spend such a large proportion of my professional life writing about the things that interest me most. Common factors? Two things: I’m on the lookout for beauty, whether it’s in a Peter Osgood goal (to mention one of your favourites) or a Miles Davis solo. And I like it when nobody, neither the participants nor the audience, knows what’s going to happen or how it’s going to turn out, which is the link between sport and jazz. Re your mention of Street Life: I’m not sure I actually wrote anything for that magazine, although I’d just sent the editor an interview with the 18-year-old Ray Wilkins (conducted under Eddie McCreadie’s watchful eye) when it folded. Best, Richard
Hello Richard
It’s nearly 3am and I’m lying awake with raging toothache and distracting myself by catching up on my reading. Part of that was your lovely Guardian appreciation of Tom Finney. I’m 64 today and never saw Tom play, although I nearly did get to see Sir Stan play for Stoke against my team – Sunderland – in his really latter years. He cried off with an injury, poor bloke. Who was the better player – discuss.
Anyway, I started to think about “way back when” and your time at Melody Maker – my weekly music fix. You were the person I relied on to keep me right. I recall a very vivid review of Miles Davis’ “On The Corner” that brought out the smells and clash of sounds from NY tenements….and a wonderful review of Bill Withers Live At Carnegie Hall. Loads more…and your description/insight into Across The Borderline.
So, here I am musing about the possibility of you doing an interview/feature on Geraint Watkins who has a new album – Moustique – due out at the beginning of March. He has a history and is still a much in demand session musician, and also a cornerstone of Nick Lowe’s band. Quite a character albeit someone who seems to slip under the musical radar. He released 2 “EPs” last year as a lead up to this album and some of those tracks will be be on it.
I’ll end here and pop another Ibuprofen! I hope you’ll think about the possibility. There again, you may be completely disinterested but as we say in my neck of the woods – shy bairns get nowt!
Kind Regards
Charlie Banks
Thanks for the kind words, Charlie. Geraint Watkins is a very good idea. I love that song “Only a Rose” that he did a few years ago, and that Dylan played on a Theme Time Radio Hour devoted to horticulture. I’ll check out the new stuff. And I hope the drugs worked.
Hi Richard – just discovered that Geraint Watkins has recorded a session for Jools Holland’s BBC R2 show. It’s to be broadcast during March – specific date to be announced. April’s Mojo offers a very positive review of the album
Hi Richard – just to follow up on Geraint Watkins. He is to play regular Sunday afternoon free gigs with “The Mosquitoes” – effectively Nick Lowe’s band. The venue is The Wheatsheaf pub in Tooting (2 Upper Tooting Road). He played last week and the next one has been confirmed by producer Neil Brockbank (Goldtop Studios) for 30 March around 3pm. The pub must be a regular haunt close to the studios. So, the gigs be of interest to you. I’m hoping to travel down as some point to catch one and I’ll be tracking through Neil. GW was on Jools Hollands BBC R2 prog on 10 March: chat/album track/one live tune, I’ve tried to send you mp3 of his segment but had problems – never mind. CD (Moustique) out Monday, but iTunes downloads available now, I think.
Charlie
Really nice piece about Evelyn King. You write about music so well. I agree with you about the ‘human’ side of dance, which is probably why I’m drawn towards the earlier years of disco/jazz-funk than to the more Euro/electro sound. If you listen to Sylvester’s cover of Ashford and Simpson’s ‘Over and Over’ and compare it to his more well known stuff, you really see the difference. There’s a great bit in Sylvester’s (highly recommended) biography where the author describes the recording session. I think everyone was pretty high during the recording, and Sylvester’s backing singers the Two Tonnes (later the Weather Girls) were stuffing their faces with fried chicken between takes. You can just hear and feel in the music that they’re having a great time. I didn’t know about the Bunny Sigler and Instant Funk connection with Evelyn King – both great acts.
Thanks again.
Hello Richard – been away and now catching up on recent stuff eg Lou Johnson. Wonderful. Just read that Teenie Hodges has passed away at 68. Very sad. That news led me to other news (to me anyway) of a new documentary about Memphis music – Take Me To The River. Here’s a YouTube link:
Hello Richard. you may not remember me, Tim Hinkley. I had a band called Jody Grind back in the 1960’s. I believe you once gave us a good write up ! My autobiography is finished and currently at the editing stage. I live in nashville and before you say anything, no I have nothing to do with the country music scene here! I made a solo album with Dan Penn producing and co writing, “A Little Bit Of Soul” back in 2001. I’ve ordered your “The Blue Moment” and Enzo books and I’m getting on your mailing list. Rock on Tim hinkley
Great to hear from you, Tim. Jody Grind — surely the best band ever to take its name from a Horace Silver (RIP) tune! I’ll look forward to your book and I’ll get hold of your album. Dan Penn, eh? One of my heroes, of course. Have you bumped into Troy Seals in Nashville? He once gave me a guided tour. Very underrated singer and songwriter.
Hi Richard – just curious – did you ever work for Alitalia? I ask because my predecessor there was a Richard Williams, who apparently went off to work in the music business.
Definitely not! There are many of us…
Dear Richard, someone else on this site mentioned they were on the foothills of jazz. I’m even further below, with much to find (away from the more ubiquitous jazz releases). I’ve recently discovered your blog and have also bought your Miles book. I have a quick, more general question: I’m keen to buy the new Wadada Leo Smith album (Great Lakes Suites) but am having trouble sourcing it from a UK site, apart from Amazon of course. Any suggestions of decent jazz UK CD/vinyl sites? Appreciate any guidance and thanks for the illuminating blog posts.
Michael — Thanks for the message. I don’t have an immediately helpful reply, I’m afraid, but I’ll have a think and look around and see what I can come up with. RW
Thank you, Richard, for this excellent site. Your calm, clear writing and unobtrusive, clean design are a welcome departure from the shrill sites that overpopulate online media. They provide superb access to your enthusiastic articles and vast knowledge of music .
Thank you, Jack. I hope all is well with you.
I’ve got recently a press statement from Berliner Festspiele that you are going to be the next artistic director of the Jazzfest Berlin 2015. Congrats, good choice. (I’m author and editor of the german magazine Jazz thing and freelancer for the german public radio WDR a.o.)
Thanks, Martin. I’m doing the job for the next three years, all being well.
Good luck, Richard, and congratulations for choosing as the artistic director of the famous Berlin Jazz Fest. I’m looking forward to your personel footprints in 2015.
Lothar Lewien, Berlin
Thank you, Lothar. I’m looking forward to the challenge.
Gary McFarland in Wall Street Journal
Hi Richard
Have you seen this?
http://www.jazzwax.com/2014/11/this-is-gary-mcfarland.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Jazzwax+%28JazzWax%29
I had been meaning (as one does) to write suggesting that McFarland’s best work was very undervalued.
There’s stuff here I had no inkling of! I have no idea how long material on this site stays available
Best
George
Thanks, George. Marc Myers does some great stuff on that blog of his. It’s a long time since I thought about Gary McFarland; time to do some revision.
What a great piece, thank you for sharing and all you do for jazz as an art form. As you get into the groove for the Berlin Jazzfest, I wanted to share that my friend Oliver Nelson jr showed me the scores of the original Berlin Dialogues for Jazz Orchestra, commissioned by the city of Berlin in 1970 – performed and recorded with an All Star Dream Band at the 1970 festival, but never performed again since then. I truely had goose bumps looking at the score and listening to the music. Wouldn’t it be incredible to have this piece performed again at the Jazzfest with an All-star line-up? Here is footage from the original recording: http://bigbandsonly.blogspot.com/2010/05/oliver-nelson-berlin-dream-band-1970.html
Thank you, Monika. I was a great admirer of your friend Oliver Jr’s dad. What an interesting idea, too. I’ll give it some thought. RW
Fantastic, thank you – please send me a note at mherzig@indiana.edu if you’d like to chat and think about options
Hi Richard
I have been following your writing on music since the 1970s and still have many of the wonderful and diverse Melody Maker articles you wrote before the disastrous strike. The Bluemoment is a worthy extension of that and it’s a delight when another piece drops into my inbox.
Our paths have almost crossed. I worked for six months at Island Records in the mid-1970s (in a very lowly position) and after University joined the Jazz Centre Society – setting up their Midlands Branch and running their National tours. Sadly I missed nearly all the 100 club gigs, as I was based in Birmingham, though I have some wonderful pre-University memories of their Wednesday night series at the Phoenix in Cavendish square and of the Camden Jazz Weeks at the Roundhouse.
I am now an Academic (of sorts) and as part of that am a bit of a magpie for information. I thought I’d drop you a line as I have just run across a lecture given last April by Richard James Burgess to a University in Scandanavia on the development of music technology. Richard Burgess was the drummer in Landscape which pioneered the use of technology – I played in a band with him at a Jazz Summer school in the 1970s – so I’ve kept an eye out for him ever since. As you probably know he went on to become a music producer and is now at the Smithsonian, no less. He is writing a book on the History of Music Production for the OUP. The speech which is downloadable is written from a musician’s perspective and rather good. It may not be quite your cup of tea, but if you haven’t run across it, and you are interested, you can find it here:
https://www.academia.edu/10219586/Transcription_of_Keynote_Presentation_at_Aalborg_University_Sonic_Signatures_Symposium
Best wishes
Paul Kelly
(no, not the American one or the Australian one or the many Liverpudlian ones)
PS – sorry this is the only way I could find to reach you.
Thanks, Paul. Good to hear from you. I’ll read the Richard Burgess speech. I hope our paths finally cross one day.
Hi Richard, just discovered the blog! Congratulations on the Berlin appointment. The only downside is that it will be even more difficult for a few of us old NHS types to buy you a pint. Or a spirituous liquour.
Hi Richard, always loved your writing, can’t believe it has taken me so long to discover this blog. Currently working backwards and maybe some time…
Thanks, John. I hope you find some stuff to enjoy.
Hi Richard, been finding your blog, which I came to via the Wire magazine, very illuminating as I have been negotiating the sometimes difficult to navigate terrain of all things jazz for the past couple of years. On that note, I wondered if you could recommend a first-rate guide book or something similar. I’ve looked at the Penguin guide but there seem to be conflicting reports. Is there a guide you think is indispensable? Any help appreciated. Thank you.
Thanks for your well thought through words about Mr Ornette Coleman. It’s good the way that you marked the importance his sophistication and a refusal to compromise. A true observation. Thank you.
Loved your piece about Lee Konitz -though the title gave me a nasty shock, before I’d read the article itself. The earlier piece, too, which I’d previously missed – great. And I’m very glad to see you recommending the Andy Hamilton book.. Now, if someone were to produce a similar book on/with Evan Parker………..
Hi Richard,
I’ve been meaning to drop you a line since discovering the Blue Moment a couple of years ago. I’ve been a great fan of your writing on music since the 1970s Melody Maker days. Often bought stuff based on your reviews and was usually delighted with the results. I can do it again now with things I might otherwise have missed (love Schlippenbach’s “Monk’s Casino”; not so convinced about the Necks).
I remember bumping into you at a Sun Ra gig many years ago and berating you for a then recent negative review of Keith Jarrett’s Sun Bear box set (you compared some of the playing to Winifred Atwell I seem to recall). With hindsight you were right!
Anyway, this note is prompted by your piece today about Phil Woods. I too love the version of Spoonful on Gil Evan’s “Individualism of…” Thank goodness this surfaced given it wasn’t included on the original release. As well as Phil’s solo, I also love Johnny Cole’s trumpet solo. He probably did his best work with Gil and is under-rated in my view. Spoonful produces the same feeling in me that I get from listening to I Am In Love from Shelly Manne’s Live at the Blackhawk, with Joe Gordon on trumpet also probably playing the best he ever did. An almost perfect jazz performance that makes you feel so warm inside.
Keep up the good work.
Thanks, Paul. Winifred Attwell — did I really say that? Shelly Manne’s Blackhawk albums are about as good as hard bop gets; I love Richie Kamuca’s playing. And please keep trying with the Necks. What is it that stops you liking them?
Hi Richard,
The Necks album I tried was Open. Found it a bit of dull to be honest. I will play it a few more times in case it is one of those slow burners that only reveals itself over time. Which Necks album would you have recommended as an intro to the their music?
As I’m writing to you again, I’d appreciate your views on another favourite alto (and clarinet) player who I don’t think gets enough credit – Michael Moore. I loved the Clusone 3 with the great Han Benninck, but some of Michael’s subsequent work is excellent as well, subtle, quiet and rewarding. One for booking at the Berlin jazz festival?
Paul — Try Aquatic and Drive By. Then Silverwater. And then try Open again.
Thanks for mentioning Michael Moore. I’m not as familiar with him as I should be. Will rectify.
Hi Richard,
If you don’t already know it, I’d recommend Michael Moore’s 2001 cd “Jewels and Binoculars”. Michael on alto sax, clarinet and bass clarinet, Lindsey Horner, bass and Michael Vatcher, drums. It’s entirely devoted to the songs of Bob Dylan with a stunning version of Visions of Johanna. The album “Bering” is also very good. Both on Michael’s own Ramboy label.
Paul! Keep trying with Open, it’s so subtle and gorgeous…and is indeed a slow burner. I’m sure Richard would agree!
Thanks Michael. Will do and I’ll try one of the other Necks albums Richard recommends.
Is the book ‘Young Clough’ a figment of my imagination? I would very much like to read it.
Hello Mr.Williams,
I have only just discovered your blog but it was only after reading your entry about the movie Whiplash did I realise you were its author when you mentioned working for the Melody maker 40 year ago. You have be fundamental to my love of jazz. Every week i read your reviews and interviews and cut then out and keep them under my teenage bed, some teenage boy had other reading matter under their beds. I would re-read you writing regularly. I had those cutting for over 20 years . My first jazz LP bought at the age of 17 was a result of reading your review of the Prestige double LP compilation of Sonny Rollins recordings. What a way to start a jazz collection listening to St Thomas followed by Strode Road. It’s still odd when I play the Saxophone Colossus and St Thomas is followed by “You Don’t Know What Love Is”. I discovered the music of Mingus, the Art Ensemble of Chicago,[ they may become as significant as the Beatles you said] Ornette Coleman, I bought Science Fiction after your review,and lesser known players such as Clifford Jordon and many more through your writing. How difficult it was to hear the music then. Very little on the radio, no live gigs where I lived.I would save my pocket money and earnings from my part time job and take a chance on a recording you recommended,I was never disappointed. Even now I may buy a CD and say to myself you gave it good review. It was only when I was my mid 20’s did i meet anyone else who also loved the music. I was living in Leeds by then, where I still live, it was the time of Leeds Jazz, a group volunteers who organised gig for 20 years bring Sam Rivers, Archie Shep, Carla Bley Charlie Haden and many others to Leeds. The Termite Club was also organizing gig of improvised music and noise in the upstairs rooms of dingy pubs. Now I exchange Youtube links with friends, there are is more gigs than I have time or money to attend, CDs are cheap and so much is available.
I would like to thank you for helping me discover music which has become so important to me.
Michael
Hi Richard
Was lucky enough to see the Motown Revue at Kingston back in ’65 and can confirm that for the whole show Earl Van Dyke Sextet were actually augmented by the Blue Flames horn section with Eddie Thornton and Glenn Hughes plus tenor sax player whose name escapes me.
Robert Jeffreys
Thanks. The tenor player would have been Mick Eve or Peter Coe — most likely the former, I think.
Richard, I just found your blog by looking for the Johnny Burch Octet and then scrolled through this whole page only to see Mick Eve mentioned; well to say I’m in shock is an understatement!
Mick lived just along the road from me in Walthamstow in the late 1950’s and became my mentor (I was playing Drums and Vibes) introducing me to all these wonderful guys resulting in my quartet with Dick H-S, Graham Bond and Malcolm Cecil playing on all the American Bases. Johnny’s octet played at the Plough in Ilford (as well as The Jazzmakers, J.Dankworth, D.Rendell etc.) and my other MJQish quartet was the interval band there; it was a really fantastic time. As a matter of interest, in 1963 I bought Tubby Hayes’ Trixon Vibes (which were featured in the film “All Night Long”) and have been playing them ever since, now a real collectors item of course and you might like to hear what they sound like so here’s a Youtube clip of me and Mick Hanson playing “Yesterdays”:-
I have so many interesting facts to regale you with but really too much to go into here so could I please prevail upon you to email me so that I can elaborate in more detail?
I look forward to hearing from you and incidentally I love your book “The Blue Moment” – it’s on my shelf just above where I’m writing this!
Ken Church.
On a completely different subject I’ve just purchased Laura Nyro American Dreamer and it reminded me of your review of Angel in the Dark for the Guardian in 2001. I have kept a copy because it was a beautiful piece on an astonishing artist. Although friends were dismissive of Billy Child’s tribute to Laura in 2014 I thought it was beautiful. Continuing to enjoy the blog and thanks for the end of year summary.
Richard, I enjoyed your piece on Dylan’s ’66 tour. One thing that always gets overlooked, and which I learned from interviewing Mickey Jones for my Free Trade Hall documentary, was that much of the outrage and hostility was caused by the sheer volume of the electric set. Mickey told me they had their own PA flown in from Los Angeles. No one in the UK then had proper PA systems. To put that into context, The Beatles played their last public show only three months after Bob’s Free Trade Hall concert, and tried to fill a baseball stadium at Candlestick Park with a few Vox AC30s. Mickey said when he hit his snare drum at Manchester – and the other gigs – it was like a howitizer going off. And Robbie’s guitar, he said, was like a steel bullwhip lashing the auditorium. British audiences were genuinely stunned. And deafened. Anyway, I hope all’s well with you, old chap. Best wishes, Andy
Interesting point of view. Might change everything?
Hi Richard,
Are you the same Richard Williams that wrote the book ” The Death of Ayrton Senna”? If you are it’s the best book I’ve ever read on that genius of a racing driver. Stunning writing!
I also love Joe Pesci’s rendition of one of my favorite songs. I love Nancy Wilson’s live rendition at a Jazz festival in CA but this one rivals that one.
I’m going to visit this blog regularly!
Thanks.
Tom
Dear Tom — Yes, the same. Thank you. I’m glad you liked the Senna book so much, and I hope you enjoy the blog. — RW