david weiss

This (along with Acoustic Masters II with Bobby Hutcherson) are youmustbe projects.

My memory might be a little fuzzy but I thought the saw solo was edited out completely and that the reasoning was that they needed to cut some time for the 2 LP set to fit onto one CD. Belden was definitely not a fan of the saw solo and I remember him being happy about it being removed. The consensus at the time was that the saw was played by Waits.

As a trumpet player, I believe Freddie was still well on top of his game in the '80s. Perhaps one could argue he didn't make his best albums as a leader during this time period but his playing was still stellar in my opinion. I think the playing on this date is very strong. As for the tunes, they're mostly McCoy's. This is the original list of tunes. I'm not sure they all made it onto the release though. Inner Glimpse McCoy Tyner Latino Suite McCoy Tyner Body and Soul Neo-Terra Freddie Hubbard Island Birdie McCoy Tyner Round Midnight Blues for Basie McCoy Tyner What is This Thing Called Love Cole Porter

I have a series of photos with Rein de Graaf and Kenny Dorham on the street in the East Village (Avenue A and 6th Street) and one photo he took of KD performing with Louis Hayes and Chick Corea. I don't have them on this computer though, I'll have to dig through some stuff to find them....

I spoke to James maybe 6 months or so ago. He seems to be doing fine but unfortunately, he lost his wife recently. I don't think he is playing anymore and I don't know of any public performances for a few years now. It's a shame, he's great. In 2008, he did a number of gigs with a Freddie Hubbard All-Star 70th Birthday tour. He emerged as the star of the show to me in pretty heady company. He was also in the Cookers at the beginning. I think I helped James a little with Round to It. If I recall correctly, I bought them to my mastering guy to master the CD. I'm on the road now but I will look for it when I get home and if I have a 2nd copy, I'll gladly give it to you.... Well... the Sun Ra stuff was fairly straight ahead in that time period if I recall correctly. I'll have to give this a listen, it's been a while. I just relayed what James told me, I didn't say I agreed and was pretty surprised he told me this (and then called something like Satin Doll on the gig). Over the years I've been surprised about how conservative (comparatively) a few musicians who are on all those adventurous are. I wondered if they always were like that and just going with the flow or they developed into that as they got older. A few don't speak kindly of the some the (great) electric stuff they did in the '70s either. You never know I guess....

The place card on the table certainly looks like it bears the Slugs logo.

I've worked with James a decent amount and don't recall if we ever talked about this. I remember doing a gig with him and suggesting he play a few of the tunes from those Blue Note albums he was associated with like Minor League or D Minor Mint. Every gig people were coming up to him asking him to sign Wayne Shorter and Freddie Hubbard albums and still he was skeptical. It wasn't a matter of not wanting to look back but more that he thought the music was a little too adventurous for the audience. I'm just a be-bopper he would say. I would say, I think some people might not totally agree with you on that one. I do remember reading an interview with him where he was asked this question and he said he didn't want to do it because he would have had to do a Sidewinder type of tune. He never was signed. Sidemen are hired for each specific record date but if you are liked and do well, you get called more.... Most labels do have their go to guys that are not signed to the label. It does put you in a better position to be considered for a contract though....

I'm pretty certain there are no overdubs. Faddis does stick out a bit at times when screaming though. Mind Reader's is the other tune with an insert (and it is around the 20 minute mark so whatever you might have heard there is probably gone). After the announcements at the beginning of the 2nd set, Mingus announces that before we get started, we have to do an insert, gives the band direction and they give it a shot. It's a bit messy so they do a 2nd take. This is the part that was a train wreck. They essentially miss a chunk of a written interlude so perhaps you don't even know what's missing. It's there now though. It's a difficult passage. Once they finish these two takes, Mingus thanks the audience for their patience and they begin the set in earnest. I did this work at least 6 months ago so I don't remember the exact details of the edits but Orange was a more traditional insert. They picked it up at a certain point and played it to the end. I believe it had something to do with part of the head missing or something like that. I would have to go back and listen to be sure. Not a blatant train wreck perhaps but something Mingus felt strongly about fixing obviously.

They did it on stage at Ronnie Scott's. If I recall correctly, they do it at the beginning of the next set.

How shall I put it. The edits on the Rollins set were based on the artist's comments or wishes. He is in the habit of wanting to put out the best product possible and approached his feedback to us in this way. I don't think he has an appreciation for the keep it complete blemishes and all school of thought. As for this set, I came on board a little later than usual for this one. I did not hear any dropouts but I'm not sure if it was because the tapes were clean or the dropouts were addressed in mastering. However, there are edits on this set as well but it is for the opposite reason this time and quite fascinating to me. Since this was a live set and there were a few ensemble train wrecks, Mingus actually rerecorded the sections in question to be edited into the tracks as needed. I think one of the inserts they recorded was actually included on the bootleg of this music. It was pretty ambitious thinking for the time and with the tools they had then, essentially a razor blade, the edits probably would have been impossible at the time but with modern technology, the edits are possible and the train wrecks were edited out and replaced by the rerecorded inserts. It made my job more interesting at least.... I have nothing to do with this aspect of things of course but it does annoy me. Perhaps not as much as new releases being called instant classics or groundbreaking or musicians being called the most important of their generation or innovative or something. Perhaps not as easily provable as a blatant misrepresentation but for whatever reason, it annoys me more at times.... But hey, they got to sell records....

I knew Bob a little from the late '80s and had the Bay Area guys invite him to this gig based on that memory. As I stated above, I played with Fuku, the drummer quite a bit back then as well, sitting in on his gig. I have heard the whole Joe Henderson show, it's great of course. I thought we had a path towards releasing it with another Joe Henderson show but that didn't come to fruition. If the other show is ever released (it's a monster but I can't talk about it at all) you'll see what I mean. Hopefully there will be another way someday..... All the Monterey tapes are housed at Stanford University and I believe are available to listen to....

I didn't know this existed (or that it was recorded). This was one of a few gigs I did in the Bay Area with the drummer Danny Spencer of Kenny Cox and the Contemporary Jazz Quintet fame. As for the video from Fuku's loft, the drummer is Jo Jones Jr., Papa Jo's son and the bass player is Don Moore who is the bass player on that Joe Henderson recording from the Monterey Jazz Festival with Bobby Hutcherson and Elvin Jones. This was around the time I moved back to New York and this was the scene I walked into. I played with these guys often. Fuku had a steady Saturday night as well that turned into a jam session where I cut my teeth often....

I worked with Bernie recently and thought he did a great job. Granted, it wasn't an audiophile release (it was the Blakey live in Japan release) but he did great work improving the overall sound of these tapes. He also has a great staff around him who would keep everything in check if there ever was an issue....

Sadly, he passed away this past October.... It's barely mentioned on his Facebook page.... https://www.facebook.com/garnett.brown.35

I didn't see this one. What was the title of it or the item number please. Thanks

I believe when they played live, they opened with a drum solo most of the time.... From my notes..... Like Someone in Love (incomplete, sounds like the tape ran out) A Night in Tunisia Take 1 (incomplete, sounds like the tape ran out) My Funny Valentine (incomplete) Trio Round About Midnight Take 2 (incomplete) None of these tunes went on for very long.... I don't know why they went for a slightly more conservative program for these shows but they were towards the end of their tour. This was potentially for some sort of film so perhaps they decided to stick with the hits? Who knows.....

Nope. It's a test pressing of the ESP disc not the stuff that was slated for Blue Note. The condition wasn't that great on this one and I have a copy of the album anyways.

They played Shorter tunes (Nelly Bly and The Summit) on other concerts from this same Japanese tour. I'm not sure why they went with a slightly more conservative program for these particular shows and repeated a lot of these tunes for both shows like Now's the Time (others were incomplete takes as the tape ran out).

That's pretty ambitious for.this record even for a test pressing. Ironically, I sold one for a lot less money on ebay a month or so ago (but this one is in much better condition). https://www.ebay.com/itm/234216967242 Ironically, it was purchased by Mats Gustafsson (along with Albert Ayler "Bells")

Miles recorded it in Eb. Played it live in Eb as did most others. Miles liked F so maybe it was an advantage for him. He played Ray's Idea in F though it was originally in Db.

Yes, the piano is out of tune to varying degrees depending on the recording. Sometimes it's not so bad, sometimes the music is so powerful, you overlook it a bit.... Sometimes it completely ruins the recording or someone with a conscious deems the recording unusable and the world at large never hears it....

The Left Bank was essentially recording for "archival" purposes. Almost all of the recordings were never meant for commercial release but over the years many have seen the light of day. Some are pretty well recorded many certainly are not and have a lot of issues. Some are salvageable, some are not.... But as the years pass by, a lot of them are the only documentation of many great artists performing live with their own bands during a particular period of time (or for some, ever) and for that, are quite valuable, to me at least. I have to agree with this and like the 2nd one as well but perhaps not as much. Joe is amazing on these and as great as I think he is, these recordings were still a bit of a surprise for me. The Village Vanguard stuff never really floated my boat. It's good but it never had repeated plays in my house....

I believe Mark Stryker provided a link to the answer further up this thread. Steve Griggs devotion to Joe Brazil's legacy uncovered this. Noted Coltrane scholar Yasuhiro Fujioka probably made the connections and so on and so on. One of the perks of successfully branding yourself the "jazz detective" is that one is probably approached a lot when things are unearthed. It looks like Steve Griggs laid the groundwork on this one

The box was in a bigger box that no one opened for years. This happens more than one would think and in this case, it seems to have come to light because of one person's persistence....

Was this an annual festival for a few years? I seem to recall hearing a tape of Freddie Hubbard from there that I think was from 1973.