{"id":1832,"date":"2015-04-23T19:31:42","date_gmt":"2015-04-23T23:31:42","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/?p=1832"},"modified":"2019-09-12T14:58:21","modified_gmt":"2019-09-12T18:58:21","slug":"bernard-stollmans-esp-disks-medici-of-60s-beyond-jazz","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2015\/04\/bernard-stollmans-esp-disks-medici-of-60s-beyond-jazz.html","title":{"rendered":"Bernard Stollman’s ESP disks: Medici of ’60s beyond jazz"},"content":{"rendered":"
\"older<\/a>

Bernard Stollman – JazzTimes<\/p><\/div>\n

Bernard Stollman, record\u00c2\u00a0producer of Albert Ayler, Paul Bley, Ornette Coleman, the Fugs, Sun Ra and many other iconoclastic musicians of the 1960s up to now on his ESP Disk ur-indie record label, died April 19 at age 85.<\/p>\n

I had the pleasure of interviewing Stollman — as well as Marzette Watts, Milford Graves and Frank Lowe — about ESP for The Wire in 1997<\/a>, and have posted the resulting article in my sidebar “Interviews.”<\/p>\n

howardmandel.com<\/a><\/p>\n

Subscribe by Email <\/a> |<\/p>\n

Subscribe by RSS<\/a> |<\/p>\n

Follow on Twitter <\/a><\/p>\n

All JBJ posts <\/a> |
\n[contextly_auto_sidebar id=”3M4GVicWxzdG7QOjhgI7s5Ywal5Jhotz”]<\/p>\n","protected":false},"excerpt":{"rendered":"

Bernard Stollman, record\u00c2\u00a0producer of Albert Ayler, Paul Bley, Ornette Coleman, the Fugs, Sun Ra and many other iconoclastic musicians of the 1960s up to now on his ESP Disk ur-indie record label, died April 19 at age 85. I had the pleasure of interviewing Stollman — as well as Marzette Watts, Milford Graves and Frank […]<\/p>\n","protected":false},"author":2,"featured_media":1833,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[3],"tags":[],"class_list":{"0":"post-1832","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2015\/04\/older-stollman.jpg","jetpack_shortlink":"https:\/\/wp.me\/p1i3CL-ty","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":1834,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2015\/04\/esp-disks-origins-of-jazz-beyond-jazz.html","url_meta":{"origin":1832,"position":0},"title":"ESP Disks — origins of jazz beyond jazz","author":"Howard Mandel","date":"April 23, 2015","format":false,"excerpt":"Reviewing a sleeping giant, ESP Disks before its early '00s revival\u00c2\u00a0 Howard Mandel c 1997, published in issue 157, The Wire It was a time before psychedelics. Following the seismic cultural disruptions of the mid '50s, rock 'n' roll had hit a period of stasis, enlivened only by the occasional\u2026","rel":"","context":"In "interviews"","block_context":{"text":"interviews","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/interviews"},"img":{"alt_text":"esp logo","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2015\/04\/esp-logo.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":324,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2010\/07\/ayler_lives_in_the_east_river.html","url_meta":{"origin":1832,"position":1},"title":"Ayler lives! in the East River","author":"Howard Mandel","date":"July 9, 2010","format":false,"excerpt":"Visionary saxophonist Albert Ayler liked to stare at the sun, which may have led to his drowning at age 34 in 1970. An upstart\u00a07-hour outdoor festival celebrates the heedlessly ecstatic spirit of his music tomorrow, July 10, at Riverwalk Commons of Roosevelt Island,\u00a0in the very waters where the man-beyond-jazz breathed\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"ayler frame.jpg","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/assets_c\/2010\/07\/ayler%20%20frame-thumb-420x299-16137.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1526,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2014\/01\/a-weekend-alt-guitar-fest-photos.html","url_meta":{"origin":1832,"position":2},"title":"A weekend alt-guitar fest (photos)","author":"Howard Mandel","date":"January 19, 2014","format":false,"excerpt":"The New York Guitar Festival this past weekend (Jan 17-19) featured master classes and three nights of \"alternative guitar summits\" curated by composer-guitarist Joel Harrison at the performance space Subculture. Photos by S\u00c3\u00a1nta Istv\u00c3\u00a1n Csaba from Friday night's 30-minute sets by four trios, show the young men (all men) in\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/01\/GuitarNight04.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":75,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2008\/03\/ornette_at_town_hall_and_in_ja.html","url_meta":{"origin":1832,"position":3},"title":"Ornette at Town Hall and in Japan","author":"Howard Mandel","date":"March 25, 2008","format":false,"excerpt":"Further Ornette sightings: the prophet of life-beyond-conventions returns on Friday to New York's Town Hall, where he's suffered and triumphed throughout his career. Internationally acclaimed as an enquiring multi-instrumentalist, composer and conceptualist, Ornette has a special place in his heart for Town Hall, the historic midtown Manhattan venue where he\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1133,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2012\/12\/2012-top-jazz-beyond-jazz-recordings.html","url_meta":{"origin":1832,"position":4},"title":"2012 Top Jazz Beyond Jazz recordings","author":"Howard Mandel","date":"December 27, 2012","format":false,"excerpt":"Checking out new recordings is the motivation of much jazz journalism, though at top-10 time having so much new stuff can be a bedevilment, if not a curse. Here's a baker's dozen of my favorites from among the 11-some-hundred sent by record labels, publicists and, increasingly, the artists themselves.\u00c2\u00a0They reward\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"cds","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2012\/12\/cds.jpeg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":56,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2007\/10\/confession_deaf_to_gospel.html","url_meta":{"origin":1832,"position":5},"title":"Confession: Deaf to Gospel","author":"Howard Mandel","date":"October 29, 2007","format":false,"excerpt":"I may burn at the stake for political incorrectness, but it's the truth: I have an intense aversion to gospel music. My distaste dates to a haunting childhood vision in which an overwhelming Mahalia Jackson is routed by a malevolent clown. As George Bernard Shaw wrote in 1894 (brought to\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/1832","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/comments?post=1832"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/1832\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media\/1833"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=1832"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=1832"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=1832"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}