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As we know there is an lp previewing the Tiberi Tapes coming out tomorrow.  There will be a Japan only cd release available at CDJapan on June 24th. 

I've hardly ever looked actively for those latter-day recordings as in my (admittedly not comprehensive) experience they are often "plagued" by certain "updated" traits (not necessarily in the leader's playing but just as much with the backing musicians or the overall arrangements) that don't do that much for me.  But one I've come to like is the "Dave Pell Octet Plays Again" set (Fresh Sound FSR-101) recorded in 1984.  https://www.discogs.com/release/5582953-The-Dave-Pell-Octet-The-Dave-Pell-Octet-Plays-Again Straight-ahead jazz that retains a "modernized" Westcoast vibe and shows Pell blowing more than on some of his comparatively polite 50s records. Another one I enjoy from time to time is "Bill Holman: A View From The Side" (JVC-2050-2) recorded in 1995. https://www.discogs.com/master/829495-The-Bill-Holman-Band-A-View-From-The-Side But remember - I never explored those later works by West Coast artists in greater depth, so what I like may well be among the "also-rans" among other forumists' lists of favorites. 

I only managed to hear about half of this yesterday as I was called away and never got back to the stereo (I have not been getting enough listening time lately!) So I’m re-spinning this and really enjoying it. Dave Holland “Dream of the Elders”  

I just reserved me a ticket for Evan Parker solo in a small village church somewhere in Belgium. I must say this is a little dream coming true: seeing Parker playing solo in church.

IMO - no. Weren't the Norman Granz sessions rather different and more swing-mainstreamish in their concept and therefore intentions? At any rate Prestige involved a wider range of musicians (and styles), didn't they?  I am not sure if it is totally fair to blame Bob Weinstock that much for lack of preparation, etc., as it happens in that Jazzprofiles text.  But who knows - maybe some of those Prestige sessions are part of why those "blowing sessions" were dismissed (and sometimes even made fun of) by some jazz scribes and reviewers when the releases were all new in the 50s? (Though in fact Down Beat reviewers tended to fault some Blue Note releases for an all too loose "blowing session" setup too)