dougcrates

https://resonancerecords.org/shop/bob-james-once-upon-a-time-the-lost-1965-new-york-studio-sessions/

Ha! I like In New York well enough but none of these deserve legendary status.

https://store.craftrecordings.com/products/chet-baker-the-legendary-riverside-albums-180-gram-5-lp

https://www.dustygroove.com/item/925779 Dusty Groove doesn't do pre-orders but you can sign up to be notified when the product goes live on their site.

https://www.mackavenue.com/store/erroll-garner-octave-remastered-series

Thought some folks might find this Toronto Jazz documentary from 1963 to be of some interest: https://www.nfb.ca/film/toronto_jazz/

All 5 Kenny Burrell albums were part of the Japanese mini-LP 24 bit by RVG series.

https://store.udiscovermusic.com/*/Pre-Order/The-Complete-Fontana-Albums-1961-1969/66FO0JG7000

https://www.nytimes.com/2019/06/25/magazine/universal-music-fire-bands-list-umg.html

While it hasn't been mentioned in this thread, it has been elsewhere: a Cal Tjader Verve set seems like a good idea (not sure why Universal is against it). As does a Yusef Lateef Verve / Impulse set. I think it's probably time they do their projects on a money down basis. Hiphop has been operating on this model now for a while: take my money today, send me my product whenever you get around to it. If it's for the purpose of sending me a Bill Barron box in 6 months, Mosaic can have my money right now. And if the project is only 5CDs and that's not profitable, charge the same price as 7CDs. I personally don't do a per CD cost evaluation. I either want the release or I don't. Anthony Braxton could've been $10 and I still would have passed. At the very least Mosaic should ask their customer base if they're willing to pay X to have a particular project and if so, can you pay it now? There is a rigidity to their approach that goes against the spirit of jazz.

From Disk Union Japan: Bill Evans' unreleased work is released for release in 2019!An unreleased work of Bill Evans will be released from Resonance of the 21st century historical label which became unnecessary now. Until now, Resonance used Edi Gomez and Jack Dijonet's trio's two most precious sources as "Some Other Time", "Another Another Time", "Another Time "and amazed the world of jazz, this work was released by Evans for the first time by Label" Live at Top of the Gate "(recorded October 23, 1968 / released in 2012) It sent out the performance about one year after. The trio is from Eddie Gómez, a second trio by Marty Morel, by members who have been the longest activity history of Evans' career. At the "Live at Top of the Gate" trio, I was able to listen to the fierce performance that I had in NY, but this recording was held at the name club "Ronnie Scots" in the UK, London Performance. In Ronnie Scots I have performed for 68 years and a month for the previous year and said that Eddie Gómez and Jacques Dijonette were the best performances at that time, but Evans new Performed in a trio formed in. In the performance at the top of the gate, there was still a part that was daunting, but three people deepened deeply after a year of time. Gomez 's base line showing closely intertwined with the performance of Evans, Gomez' s base line showing the original articulation, along with a delicate swing feeling, drumming of Treo, Morre 's drumming makes the performance show chemistry in all three ways . There are things that make us feel the history of the long-lived trio that will continue until the year 74. The song is valuable also in that it records the initial recordings of songs such as "Sugar Plum" and "The Two Lonely People" while centering on the number Evans. Also, the recording of "My Foolish Heart" and "Waltz for Debby" is the same track order as "Waltz for Debby" which made Vanguard's work a work. I also make editing feel interesting. The sound source was the fact that an enthusiastic collector named French "Joe" contacted Leon Terjanian who took a picture of the documentary film "Turn out the Stars" in 2016. Evans was also tolerated, and the tape that was recorded by Joe ranged from Terjanian to Resonance and entered into a licensing agreement with the various parts concerned, and it was made into a work. The sound quality is preeminent. Not to mention the coolness of the jacket, as well as Resonance, this time also using rare pictures of Chuck Stuart, Jean Pierre Leroy and others, including interviews with Eddie Gomez and Marty · Morel, packed with precious episodes I added a booklet. This time it is a release that feels respect for artists. * There is distortion in the sound quality due to the master tape in a very small part of the sound source. Please note. Bill Evans (p), Eddie Gomez (b), Marty Morell (ds)

From Disk Union Japan (translated through Google translate): Featured Label Appearance» * Now collaborative work by Zev Feldmann who has the name of "Jazz Detective" and Collie Weez of Canadian name jazz label Cellar Live. * The jacket design, booklet production team is a work by the same staff as Resonance !! 1966, 67 year super hot Cannonball Adderley Quintet! Live performance at Seattle's jazz club "The Penthouse" "Sticks" and others, a number of songs symbolizing this era will be excitingly funky! ● Cannonball Adderley Quintet that followed his brother's nut, Joe Zavinul, Victor Gaskin, Roy McCurdy in June 1966 and 1967 An album containing live performances at Seattle's jazz club "The Penthouse" in October. ● All the performances were unpublished, and in the year 66 he played back after returning to the Amsterdam Live Recording on June 3 and returning home. In August of this year I played for the second time with the same member, but I can hear it with the album "Cannonball In Japan" released from Capitol. Also, the performance of 67 years is about two and a half months after the Capitol board "74 Miles Away" recorded in the June and July, and it is said that it is between the Capitol board "Accent On Africa" recorded in June 1968 Become. ● What is being played is Jimmy Heath's original "Big" P "", 74 Miles Away "title songs and the standard song" The Girl Next Door "Morning Of The Carnival" and "Somewhere" that are contained in "The Sticks" and "Hippodelphia", "Great Love Themes" that can be listened to "Cannonball In Japan" and the famous recording "Mercy, Mercy, Mercy" "And Charlie Parker's Blues" Back Home Blues ". Among them, playing "Back Home Blues" by Cannonball has not been able to hear until now. Both 66 years of performance and 67 years of performance are hot and groovy things reminiscent of the summer 's Japan tour in Japan. Especially Roy McCurdy's sharp drumming is shining. Members: Julian 'Cannonball' Adderley (as), Nat Adderley (corn), Joe Zawinul (p), Victor Gaskin (b), Roy McCurdy (ds) Recorded live at the Penthouse Jazz Club in Seattle, WA on June 15 & 22 , 1966 and October 6 & 13, 1967. «Bruzie & Swingy · Vocal!» » Eta Jones, 1972 One night at Baltimore's Jazz club An attractive singing with the name backer of Cedar · Walton · Trio !! ● Etha Jones, born in South Carolina in 1928 and singing in numerous big bands since the 1940s, has been independent for a while In 1960, I recorded a lot of attention with "Do not Go To Strangers" (participated by Frank Wes and Richard Wyers etc.) recorded to Prestige. After that, I recorded a superb work that followed Prestige from Oliver Nelson, such as Larry Young, Kenny Burrell etc, but after I left "Etta Jones Sings" to Roulette in 1965, I stayed away from recording for a while I'm sorry. ● Two songs of 1972 were recorded in Cedar · Walton's live board "Three Sundays In The Seventies:" Live "At The Left Bank" (Label M Records), enjoying the powerful singing voice after a long absence , In the following 73 years recording with the Houston · Person and Jean Ammons advanced to the real comeback, and since 1976 it left a masterpiece one after another in Muse. ● The excavation this time was live recording at the Baltimore club on February 27, 1972. In other words, in the session with the cedar · Walton · trio mentioned above, it is possible to hear the singing voice for a long time since the Roulette board, but among the ten recorded songs "Do not Go To Strangers" and "Blow Top Blues "was a performance that I heard on the Label M Records board. Although the remaining 8 songs will be the first performance to listen to, the "Theme from" Love Story "at the beginning is a performance by Cedar · Walton · Trio, but Eta does not participate. Cedar trio that followed Sam Jones, Billy Higgins, also leaves a lot of name recordings, but here again this audience is booming with the swingy play unique to this trio. ● Etta who got the trio's backing without complaints also gently swings and sings ballads moistly. Members: Etta Jones (vo), Cedar Walton (p), Sam Jones (b), Billy Higgins (ds) Recorded live at the Famous Ballroom in Baltimore, MD on February 27, 1972. Presented by the Left Bank Jazz Society.

https://www.amazon.com/Live-Bremen-1983-2-CD/dp/B07FYHTSG1?keywords=woody+shaw&qid=1539170007&s=Music&sr=1-1&ref=sr_1_1

https://www.amazon.com/Espace-Cardin-1977-Dexter-Gordon/dp/B07FYNPWW6

https://diskunion.net/portal/ct/news/article/1/77003