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monkboughtlunch
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Posts posted by monkboughtlunch
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On 2/19/2024 at 12:44 AM, bertrand said:
A good chance this was recorded, as were most Keystone gigs.
Who recorded them?
On 2/13/2024 at 1:46 PM, Dub Modal said:The writer’s annoyance at the whistle is hilarious
The writer isn't wrong. 😀 The whistle on the 1975 Oil Can Harry's date is cringeworthy.
In fact, it would be a perfect use case for modern de-mixing technology. Digitally remove the whistle on two-track pre-FM mix-downs of live Grant Green recordings. It would be kind of a public service -- like removing Yoko Ono screaming over John Lennon and Chuck Berry on the Dick Cavett Show. 😁
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That whistle can be heard on the 1975 Oil Can Harry's release. Listen around the 22 minute mark of "How Insensitive."
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The Talkin' About XRCD sounds great!
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1 hour ago, Niko said:
Like I wrote above, Green Patton Dixon was advertised in Pittsburgh for 15 November 1965... So, as argued above, Young's involvement is more plausible during the summer... Maybe there was more than one recording date...
Good sleuthing! Summer 65 does seem more plausible than the Nov. 65 date Klein now posits.
Do we know who took the photo Heid posted? Are there any more photos from that gig? It appears Mr. Heid has passed away: https://www.wzum.org/jazz-blog/2023/06/30/mcgjazz-
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On 5/8/2021 at 10:00 AM, Niko said:
speaking of cool free resources, this here is a free newspaper archive for Indiana, including the Indianapolis recorder... the same lineup with Watson and Clarke is advertised there once more on February 6 1965... but on February 20 1965, the lineup has changed, JC Moses has joined the band and (somewhat surprisingly) Jane Getz is playing the piano in the Grant Green Trio...
here is one more 31 December 1966, almost two years later...
what this suggests to me is that there was a period of JC Moses / Green / Young either before ore (more likely given Young's travel to Europe) after the lineup JC Moses / Green / Getz...
Nice work Niko! Has anyone reached out to Jane Getz to see if her gig/s with Grant Green were privately recorded?
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San Francisco Examiner Aug. 15, 1975
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Great work guys! The phrasing is definitely Larry Young.
Was the recording date ever definitively nailed down?
On Nov. 15, 2023, Travis Klein posted on Facebook: "On this date in Pittsburgh music history, November 15, 1965, the Grant Green Organ Trio began a week's performance at the Hurricane. This is when we recorded the "Iron City" album."
Does the master tape box / session log not exist? Were the musician contracts located? Green's last date as a Blue Note leader before his hiatus was March 1965 (I Want To Hold Your Hand). Was Green under contract to Blue Note that expired in 1965?
Green made recordings for Verve as a leader in August and September 1965. After that he does some sideman dates for Blue Note and Prestige in 1966 before returning to the studio in 1969.
Klein's recollection of a November 15, 1965 recording date seems plausible. Can Larry Young be placed in Pittsburgh that week?
Observation: Larry Young's Unity LP was recorded November 10, 1965.
The next studio entry for Young is Woody Shaw's In The Beginning LP recorded in December 1965.
So it does look like there was a potential window for Young to gig with Green in PA starting November 15, 1965 and possibly record the Iron City album at that time.
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On 1/25/2024 at 2:54 PM, bertrand said:
Even if there are some private recordings, I GUARANTEE you Zev Feldman would pass on them LOL.
I wonder if Mr. Feldman would entertain a download only series for lower sales volume artists. That way there wouldn't be a physical media production investment risk on his part.
12 minutes ago, Dan Gould said:I think the odds are worse than slim and none.
Well, we know the master numbers from the 1965 session. If someone here knows an employee at Verve/Universal Records, they could have them look up the take numbers in their internal database and see if the session is catalogued or is associated with a bar code in Iron Mountain.
If the Cadet session burned up in the 2008 fire, does anyone here have a relationship with the Willette and Esmond Edwards estates? Might be worth asking them if they have an acetate of it. And wouldn't it be amazing if Willette's heirs have some private live recordings and don't realize they might be significant?
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I've been yearning to hear the unissued 1965 Cadet session for decades.
It wouldn't surprise me if Mr. Willette received an acetate of this Cadet session as a courtesy from the record label. If so, do Willette's heirs still have the acetate?
Alternatively, is it possible producer Esmond Edwards' (RIP) family has an acetate of the session?
In 2008, the Universal Studios fire torched a lot tapes in the Argo/Cadet vault. I have no idea if the Willette Cadet session perished in the fire -- or if it was lost, stolen or trashed years before that.
But maybe the unissued session survives in some form.
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Baby Face Willette (org) + others unknown
c. late 1965
14267 When lights are low (unissued) Cadet
14268 After hours -
14269 Soul elevation -
14270 Get to steppin' -
14271 I got a woman (incomplete) -
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Found some newspaper mentions of the Baby Face Willette Trio from October 1964, the month before the Argo studio album Behind the 8-Ball was recorded.
I wonder if any live 1960s Willette trio recordings exist in private hands? Has anyone asked Willette's family? Is Ben White (guitar) still alive?
The Indianopolis News Oct. 14, 1964
The Indianopolis Star Oct. 10, 1964
The La Crosse Tribune Oct. 19, 1964
Behind The 8-Ball (Argo 749), recorded Nov. 30, 1964, Tel-Mar Studios, IL
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Here it is in higher resolution...
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Found this Dec. 3, 1965 St. Louis Post Dispatch article which interviews Grant Green's father, John Green:
A Jazz Guitar From St. Louis
Grant Green Doing Just Fine Making Records in New York, And His Father Is Very Proud
By Jack Rice
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Here’s clip of Jack playing on this 1962 Frankly Jazz show from YouTube. This is not from the source videotape and appears to be a multigenerational copy.
Wilson’s solo starts at 4:07Great stuff. If UCLA ever publishes their new transfer from the original videotape, it will be a massive upgrade in video and audio quality.
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A two-inch original master videotape of Jack Wilson performing on the TV program Frankly Jazz in 1962 was donated to UCLA, transferred to digital and streamed via Zoom in 2021.
I have not seen the video. Did anyone see this? It was only a one-time screening! See Gerald Wilson show below.
https://www.cinema.ucla.edu/events/2021/05/06/frankly-jazz-three-preserved-episodes
May 6, 2021 - 4:00 pmThis is a one-time live screening.
Read Television Archivist Mark Quigley's interview with Lance Evans, son of Frankly Jazz host, co-producer and disc jockey Frank Evans.
Premiering on Los Angeles’ KTLA Channel 5 in 1962, the tragically short-lived local television series Frankly Jazzoffered viewers powerhouse live performances by some of the best West Coast jazz musicians of the day. Hosted and co-produced by noted disc jockey Frank Evans (and sharing the eponymous title of his popular L.A. radio show as heard on KRHM-FM), Frankly Jazz took up where Bobby Troup’s Stars of Jazz ABC-TV series left off in 1958—providing a ‘60s-era, new frontier soundtrack to the City of Angels, with stark modern visuals to match. Recorded on black and white videotape from a bare soundstage draped in noir shadows and cigarette smoke, host Evans schooled Saturday evening television audiences on the sacred world of jazz with an unshakable, laid-back cool, effortlessly dropping deep musical knowledge and keeping it real with his hip trademark sign-off, “later.”
The Archive presents three episodes of this obscure local music TV series, as preserved from recently acquired, original 2 in. master videotapes featuring legendary artists such as Gerald Wilson, the Jazz Crusaders and Sammy Davis Jr. The performances will be introduced by jazz musician and educator Ray Briggs, Ph.D., Jazz Studies Department Chair for the Pasadena Conservatory of Music, and Assistant Director of Jazz Studies at California State University, Long Beach, where he teaches courses in jazz history and ethnomusicology.
Program curated and notes written by Mark Quigley, John H. Mitchell Television Archivist.
Preserved by the UCLA Film & Television Archive with funding from the John H. Mitchell Television Preservation Endowment.
Frankly Jazz: The Jazz Crusaders and Mary Ann McCall
Record date: 8/3/1962
KTLA. Producers: Frank Evans, Gary Markas. Director: Gary Markas. Host: Frank Evans. Musicians: Wayne Henderson (trombone), Wilton Felder (reeds), Joe Sample (piano), Victor Gaskin (acoustic double bass), Stix Hooper (drums), Mary Ann McCall (vocals).
Frankly Jazz: Gerald Wilson Big Band
Record date: 12/5/1962
KTLA. Producers: Frank Evans, Gary Markas. Director: Gary Markas. Host: Frank Evans. Musicians: Gerald Wilson (trumpet, leader); Al Porcino, Robert Knight, Jules Chaikin, John Audino, Fred R. Hill (trumpets); John Ewing, Bob Edmondson, Louis Blackburn (trombones); Buddy Collette (flute, alto sax); Joe Maini (alto sax); Teddy Ed-wards, Henry Grant (tenor sa)x; Jack Nimitz (baritone sax); Jack Wilson Jr. (piano); Jimmy Bond (acoustic double bass); Mel Lewis (drums).
Frankly Jazz: Sammy Davis, Jr. and Victor Feldman
Record date: 10/19/1962
KTLA. Producers: Frank Evans, Gary Markas. Director: Gary Markas. Host: Frank Evans. Musicians: Victor Feldman (vibraphone); Jimmy Rowles (piano); Bob Whitlock (acoustic double bass); Kenny Dennis (drums); Sammy Davis Jr. (vocals).
B&w, total program running time: 85 min.
Preserved from original 2 in. videotapes. Video transfers at DC Video. Engineering services by David Crosthwait. Special thanks to Greg Lewerke and Stan Lewerke. Musician credits from Jazz on the Screen: A Jazz and Blues Filmography by David Meeker.
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7 minutes ago, Teasing the Korean said:
Weird. You could easily speed-correct the bootleg using consumer-grade software.
I found an original Vault LP. The sound quality blows the bootleg needle drop out of the water. You could speed correct the bootleg, but the bootleg needle drop is so poor sounding it’s not worth it. -
58 minutes ago, Teasing the Korean said:
So a while back, I'd written above that I have only two Jack Wilson albums, the two Blue Note albums, on CD.
But this morning, going through the Brazil/bossa section, I see that I have an album that he did called "Brazilian Mancini" on Vault, an Atlantic subsidiary. This is a pristine mono promo copy.
This is a gorgeous album, precisely what TTK and his wife enjoy playing on the weekend with breakfast.
Roy Ayers is on vibes.
The guitar is credited to "Tony Brazil," in quotes. I'm guessing that is a contractual pseudonym. Any idea who it is?
EDIT: The guitar is Jobim. I should have guessed!
There is a 1960s Jack Wilson album on the Vault label called The Jazz Organs. A bootleg label made a needle drop at 45 rpm, instead of 33 rpm, and published it on iTunes and CD. As a consequence of the errant 45 RPM playback speed, the whole bootleg runs fast. The goofy bootleg sounds like The Chipmunks! You have to track down an original, rare Vault LP to hear The Jazz Organs at the correct speed. The Vault stuff has never been properly (legally) reissued from the master tapes. Sad!
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6 hours ago, Captain Howdy said:
I suppose they had no way of knowing, and perhaps not that much incentive to find out. The new Times article takes for granted that the average reader doesn't even understand what master tapes are or why they're important.
I would imagine that the legacy artists that had their tapes destroyed and are just now finding out are not too happy. If they were not informed and Universal was negligent in allowing the fire to happen, it's lawsuit time.
I would imagine share holders are not happy either. I wonder if Universal stock will be impacted and what kind of damage control Universal will attempt.
I wonder if Universal collected a huge payday from the insurance company for the lost master tapes while concurrently lying to their shareholders and recording artists about the extent of the loss.
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31 minutes ago, Teasing the Korean said:
i had read that impulse masters were trashed prior to the 2008 disaster.
I got the impression that a lot of the Impulse source tapes that Cuscuna used for the 1990s and 2000s CD reissues were from LP production master tapes. So they would be at least a generation removed from the session reels. Maybe the session tapes were already gone before the 2008 fire and what burned up were the 2nd gen LP production masters used for the CD reissues?
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It's amazing that most of John Coltrane's Impulse master tapes were destroyed by the 2008 fire and it took the media 11 years to call B.S. on Universal's spin job.
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I've been posting about this fire for years!! Great to see the NY Times step up to the plate and call out Universal for making false statements to their share holders, artists and consumers.
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It's amazing that most of John Coltrane's Impulse master tapes (among those of many other artists) were destroyed by the 2008 fire and it took the media 11 years to call B.S. on Universal's spin job. Think of all the unreleased outtakes and alternates lost to the ages. The Universal CEO back in 2008 said "nothing irreplaceable was lost."
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Anyone read this New York Times report published this week about the 2008 Universal Fire? https://www.nytimes.com/2019/06/11/magazine/universal-fire-master-recordings.html
It's titled The Day The Music Burned.
Among the incinerated Decca masters were recordings by titanic figures in American music: Louis Armstrong, Duke Ellington, Al Jolson, Bing Crosby, Ella Fitzgerald, Judy Garland. The tape masters for Billie Holiday’s Decca catalog were most likely lost in total. The Decca masters also included recordings by such greats as Louis Jordan and His Tympany Five and Patsy Cline.
The fire most likely claimed most of Chuck Berry’s Chess masters and multitrack masters, a body of work that constitutes Berry’s greatest recordings. The destroyed Chess masters encompassed nearly everything else recorded for the label and its subsidiaries, including most of the Chess output of Muddy Waters, Howlin’ Wolf, Willie Dixon, Bo Diddley, Etta James, John Lee Hooker, Buddy Guy and Little Walter. Also very likely lost were master tapes of the first commercially released material by Aretha Franklin, recorded when she was a young teenager performing in the church services of her father, the Rev. C.L. Franklin, who made dozens of albums for Chess and its sublabels.
Virtually all of Buddy Holly’s masters were lost in the fire. Most of John Coltrane’s Impulse masters were lost, as were masters for treasured Impulse releases by Ellington, Count Basie, Coleman Hawkins, Dizzy Gillespie, Max Roach, Art Blakey, Sonny Rollins, Charles Mingus, Ornette Coleman, Alice Coltrane, Sun Ra, Albert Ayler, Pharoah Sanders and other jazz greats. Also apparently destroyed were the masters for dozens of canonical hit singles, including Bill Haley and His Comets’ “Rock Around the Clock,” Jackie Brenston and His Delta Cats’ “Rocket 88,” Bo Diddley’s “Bo Diddley/I’m A Man,” Etta James’s “At Last,” the Kingsmen’s “Louie Louie” and the Impressions’ “People Get Ready.”
The list of destroyed single and album masters takes in titles by dozens of legendary artists, a genre-spanning who’s who of 20th- and 21st-century popular music. It includes recordings by Benny Goodman, Cab Calloway, the Andrews Sisters, the Ink Spots, the Mills Brothers, Lionel Hampton, Ray Charles, Sister Rosetta Tharpe, Clara Ward, Sammy Davis Jr., Les Paul, Fats Domino, Big Mama Thornton, Burl Ives, the Weavers, Kitty Wells, Ernest Tubb, Lefty Frizzell, Loretta Lynn, George Jones, Merle Haggard, Bobby (Blue) Bland, B.B. King, Ike Turner, the Four Tops, Quincy Jones, Burt Bacharach, Joan Baez, Neil Diamond, Sonny and Cher, the Mamas and the Papas, Joni Mitchell, Captain Beefheart, Cat Stevens, the Carpenters, Gladys Knight and the Pips, Al Green, the Flying Burrito Brothers, Elton John, Lynyrd Skynyrd, Eric Clapton, Jimmy Buffett, the Eagles, Don Henley, Aerosmith, Steely Dan, Iggy Pop, Rufus and Chaka Khan, Barry White, Patti LaBelle, Yoko Ono, Tom Petty and the Heartbreakers, the Police, Sting, George Strait, Steve Earle, R.E.M., Janet Jackson, Eric B. and Rakim, New Edition, Bobby Brown, Guns N’ Roses, Queen Latifah, Mary J. Blige, Sonic Youth, No Doubt, Nine Inch Nails, Snoop Dogg, Nirvana, Soundgarden, Hole, Beck, Sheryl Crow, Tupac Shakur, Eminem, 50 Cent and the Roots.
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Finally. Check out this 2019 New York Times report on the 2008 fire. They are kickin' ass and takin' names!
https://www.nytimes.com/2019/06/11/magazine/universal-fire-master-recordings.html
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The Moon Mist / Day Dream / Lush Life / Take The A Train medley is phenomenal!
Grant Green: Live At Keystone Korner August 1975 in San Francisco
in Artists
Posted
Has anyone asked Mr. Barkan if Grant Green was recorded at Keystone Korner?