So there is a possibility that people’s not liking French or Spanish pop music could actually be for reasons other than the language. In some cases. Maybe. A bit.
]]>I heard them live last year too, and apart from anything else I was struck by the singular virtuosity and originality of their drummer.
there are dozens, just dozens of equally talented piano trios playing largely similar stuff
Well you’ll be wrong then, particularly re drummer. They’re top-notch.
I just don’t like them.
Fair enough.
They’re trying to be Brad Mehldau
No they’re not. BM is largely restrained, subtle, intricate and wonderful. The BP are largely unrestrained, full-blown, intricate, and wonderful.
]]>Yes. Plenty. The artists just aren’t marketed properly over here, because they’re minority interest.
]]>There’s a thriving Scandinavian jazz scene at the moment – Bugge Wesseltoft, Esbjorn Svensson Trio, Sidsel Endresen etc. – equally as innovative as the Manhattan scene myself and Larry are claiming to exist. So there.
]]>(using the code "NM" for "Not Manhattan", "N30" for "not recorded in the last 30 years" and "NGM" for "Not great music", using here the criterion that a reasonably well-informed European listener, ie me, has never heard of them and presuming that Europe also has loads of obscure bands with their own passionate advocates)
The Clash (NM)
The Fall (NM)
Elvis Costello (NM)
Wire (NM)
Gang of Four (NM)
Graham Parker (NM)
Van der Graaf Generator (NM, NGM)
Stan Tracey (NM, NGM)
Pete King (NM, NGM)
Art Themen (NM, NGM)
New Order (NM)
Charlie Parker (N30)
Lester Young (NM, N30)
"Billy", I presume Billie Holiday (NM, N30)
Aretha (presumably Franklin) (NM, N30)
Martha (presumably Reeves) (NM, N30)
(or possibly "and the Muffins", NM, NGM)
The Supremes (NM, N30)
Otis (presumably Redding) (NM, N30)
"soul, luuurve": Detroit is not in Manhattan, nor is Muscle Shoals and nor are the Stax studios, nor is Philly.
"bambambambam": possibly a reference to Afrika Bambaata, but unfortunately he made most of his music in Brooklyn.
Horses (yes! Manhattan and recorded in 1975!)
Astral Weeks (Van Morrison, N30)
London Calling (Clash, NM)
Slates (The Fall, NM)
Darkness on the Edge of Town (arguable. Springsteen is definitely NM because New Jersey, but this particular album was recorded at the Power Station studio)
"Gillian Welch albums" (NM, Nashville is not in Manhattan. Also NGM as entirely obscure country & western)
"David Rawlings" (NGM for sure, I think also NM as google seems to list him as a collaborator of Gillian Welch)
"The First Velvet’s album" (N30)
"Exile on Main Street" (N30, NM, actually recorded in France)
"Kind of Blue" (N30)
"Billy’s duets with Lester Young" (N30)
Wilko Johnson’s eyes and Lee (presumably Brilleaux) voice (Dr. Feelgood, NM)
I think someone could draw a Venn diagram of the ways in which you’ve missed the target here. Your main problem appears to be thinking that Manhattan is bigger than it is, followed by thinking that the last thirty years began in 1965 (this is a common problem among men of a certain age). I think that the defence here has
]]>soul. luuuuuuuuuuuuve, …bambambambamabam.
Otis, and the rest. Otherwise, seems fair comment to me. Has Europe produced one moment, just one, like Horses? or Astral Weeks? Or London calling? Or Slates? Or Darkness on the Edge of Town? Or any of the four Gillian Welch albums? Or David Rawlings guitar work? Or the first Velvet’s album? Or Exile on Main Street? Or Kind of Blue? Or Billy’s duets with Lester Young? or Wilko Johnson eyes and Lee’s voice as they kick into Back in the Night? The Defence rests.
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