Late

What do you all think of this Dorham record? Sometimes I love it, and other times it feels like it's missing something. Also, sometimes Ernie Henry sounds to me like a more diatonic Ornette Coleman—or, put another way, an Ornette Coleman more invested in wanting to play changes. Opinions on the record welcome. I think Max Roach had words (positive) about this record. G.T. Hogan sounds a lot like Blakey on this record.

About an hour's worth. Maybe a little over. The music on that 1990 Japanese box set (linked above) that was never on a Mosaic set is quite good.

Order arrived earlier than expected, and in excellent condition. 👍 Thanks!! Looking forward to "B" and "C"...😁

But, as Colin indicated, why Out To Lunch? Why the Prestige recordings of Miles Davis? Hard to understand, at least from a collector's point of view, a rationale for those "reissues." If recordings up to 1972 are public domain in Switzerland, my goodness—so many great records that have never seen (or likely ever will see) a digital release could have been produced. The first release on ezz-thetics was fully authorized, never previously available, and wonderful. Had the label followed that path (jazz-detective-ing for unreleased concerts)—that would truly have been something. (How else could we finally hear Giuffre's 1961 Tübingen concert?) (Besides the Tübingen concert being on YouTube in a rough transfer.)

It sucks that this album probably won't be reissued in full—unless there's a curveball out of nowhere. Five of the 10 tracks were collected on a recent Paul Bley Plays Annette Peacock compilation disc. The omissions are great tracks.

(reissue cover) Blood The Ornette cover is bangin'.

Paul Bley & Annette Peacock: Live In Vienna, 1970. Sun Ra would have approved.

The entire ezz-thetics catalog has been pulled from Bandcamp.

2018 New Yorker Article on Annette Peacock. An examination of her 80's albums. 👍

They're pretty good. Click here. First four tracks. "Cracklin Bread" is especially tasty.

I'm jealous! 🙃😉 What a great way to compile this period of Blue Note. I believe Cuscuna is particularly fond of the two Jimmy Shirley tracks.

I've heard neither, but would very much like to. 👍 After further internet sleuthing, my conclusion [corrections welcome] is that the first 1987 OJC of Boss Tenor was a mono fold-down of the stereo master. Not sure why that made it out onto the market. It was soon replaced by a stereo edition OJC, which notably states "STEREO" on the CD spine. In a parallel case, the OJC of Blue Gene has a special note, in caps-lock, on the back of the CD: "ALL PREVIOUS EDITIONS OF THIS ALBUM HAVE BEEN MONAURAL. HOWEVER, NEWLY DISCOVERED TRUE STEREO MASTER TAPES MAKE POSSIBLE THE PREMIER RELEASE OF THESE SESSIONS IN STEREO." Was Rudy perhaps making mono fold-downs at the time (late 50's/early 60's) for the listening market of the day? I don't know enough about Van Gelder's transition from mono to stereo recording.

I wish this would get reissued. Probably won't happen, but maybe in 2039? Alamo "Pigmeat" Markham was a Blue Note recording artist!

I listened to this album again today—so, so good. It's hard to describe Cobb. Elemental? Supernatural? Perfect? And..."Wild Bill" Davis—what great comping. Jabs like a boxer, and at just the right time. I also love that the compact disc edition lists him by his middle name: Strethen Davis. Is anybody named "Strethen" these days? Then I played Party Time. My word—that sound! Talk about blues-drenched. Arnett Cobb never really needed substitute chord changes. The overtones alone took care of that.

Speak No Evil helped me get through high school. I think I played it every morning before going to school my senior year. My undergrad college years were consumed by Miles, which of course included Wayne. This album helped me get through graduate school:

Agreed. I guess they played together as early as 1947, but I don't think I've heard those recordings. I've listened to some of Ammons' 78 recordings, but not closely enough. There's a Prestige disc, which you probably know, that does a good job of compiling a lot of that 78 work. I don't own it, but I've listened to it on YouTube. 👍 These days I'm in the process of replacing a number of CDR's with real copies of Ammons albums. Kind of late in the game it seems, but why not. What's fun is that I'm going through a Jug Renaissance listening period! I used to not appreciate his soloing when I was younger. These days, I really value the simplicity, depth of sound, and lack of strain in Jug's playing.

Curious to hear it too.

Listened to the entirety of this album today: What a badass album. But I hate the compact disc cover art. Jug played two weeks at The Plugged Nickel upon his release from prison. This album was made not too long after. Apparently he received a standing ovation at the legendary Chicago club. Buster Williams is a little too upfront in Rudy's mix, but a person really can't complain when it's Buster Williams who's laying down the bassline. Junior Mance also brought his A-game for the gig.

Listening to the beautiful ballad "A Stranger In Town" from this album when I learned of Wayne Shorter's passing. Fitting somehow—from one tenor to another.

He gave us so much. The world is a better place for Wayne Shorter having been in it.

No, I haven't heard it. It officially goes down on "the list." 👍

Agreed—which is even more of a reason to keep searching for the OJC titles on compact disc that you/one didn't get to back in the day.

Yeah, my OJC is in stereo, so now I'm thinking a true mono edition (perhaps) doesn't exist. Either way, this album was one of Rudy's best efforts. Beautiful sound. I've always wanted to hear the XRCD of this title.

Yes. I've never heard this one: OH — back to Ammons for minute — I just read last night that there are two different OJCs of Boss Tenor: the original 1987 U.S. compact disc edition in mono (manufactured by SANYO), and then a reissue (also 1987) in stereo. What?! Is the stereo edition re-channeled stereo? Or do both a mono and stereo copy of the album exist?

That must've been quite the gig.