david weiss

It's Galper. He was in the band for about a year at this point.

Soundscan is the organization that tracks sales used by Billboard and all chart makers as far as I know.

I spoke to Perla yesterday and asked him about a few of these things..... He said the Weather Report with Cobham was a rehearsal. I also asked him about the Jeremy Steig with Jan Hammer, Tommy Bolin and Billy Cobham (the personnel from Cobham's Spectrum album, a favorite of mine so this was a curiosity to me). He said a Bolin fan released this on some sort of Tommy Bolin compilation a few years back.

Aw. So sad. I met him when I was first starting at a workshop at the Creative Music Studio. He was soon entrenched in the downtown scene when that meant rock-n-roll gigs. For him, it was a band called The Waitresses if I remember correctly. Lost touch with him when I went to music school some 30 years ago but would see his name from time to time. I just remember him being a really nice guy and talented of course....

Always interesting to see this sort of feedback. I can answer the following from what was mentioned above..... No one in the band heard the introduction of the band so we had no idea a name was omitted in the introductions. I assume he was also the one who mentioned our travel day. I didn't hear it though and did not mention it myself on stage but yes, it was a long travel day. We did leave Szeged, Hungary at 7:00 am (so yes, I guess we were up at 6:00) and drove around 3 hours to Belgrade, Serbia to fly to London. Getting through customs and such meant we had to go straight to the venue from the airport and right to sound check. We had a full sound check. We never hear how things sound in the house but we could hear each other well on stage. We had some food bought to us so we could quickly eat and do our best to pull clothes out of our luggage and change for the concert. I don't think anyone was angry but perhaps we had our game faces on. I guess we take this stuff seriously and try to do our best. If Billy Hart was too loud in a concert hall, this to me is more of a balance issue. Billy definitely plays with a wide range of dynamics but he is accompanying the soloists and bringing the energy usually required for doing this. If you can't hear the horns in a big venue, then they needed to be bought up. Billy's drums were mic'ed but once the sound engineers heard the group, those mics should not have been on. They were definitely not needed. I do remember an audience member calling out something like who is the drummer or give the drummer some and a little, when I announced Biily's name before his drum feature, I did deliberately turn in the direction of the person who had shouted out earlier when I announced Billy's name. This is how things are usually announced and over 16 years, no one has taken issue with this so there is nothing to read into this. I thought it was a nice night. If anyone was tired, they didn't show it at all as is the norm with these guys. I thought the audience was wonderful and very receptive. To me, this is a special band playing music in a way that is rarely heard these days and I, at the very least, cherish the experience.

Back when I did some work with Jordi Pujol (around 20 years ago or so now), he played me some of these Philly Joe Jones tapes but if I remember correctly, he did not have the tape with Reece and Gilmore yet but had the other two and it was not enough material to fill a CD. I guess when word got about this other tape, perhaps Pujol tracked it down so he had this full release.

"Nobody has heard before" is quite a stretch. It is in the Avakian collection at the Lincoln Center Library and before that, besides being amongst Avakian's tapes, I believe it is also in the vaults at Sony studios after being in RCA studios for years. Now you can know go to the Library and sample anything from the Avakian collection yourself. There is quite a bit of great finds there and not just by Sonny Rollins.

It's one archive, the W. Eugene Smith archive. I've searched their data base and they have all the shows. I initially discovered the show (I had never heard about it before)), while going through the tapes of a musician's estate. Unfortunately, at this point, I can't discuss the identity of the musician.

I have only heard the audio of a couple of the shows while going through an archive I, unfortunately, can not discuss. However, I discovered that the W. Eugene Smith (the Jazz Loft guy) made audio recordings of these shows off his TV. I'm going through the list of tapes in his archive now as we speak looking for listings for the shows and have found the 5th show, which is the Al Cohn and Zoot Sims Quintet. I know the Sonny Rollins is in this archive as well.... I'm not sure if you can listen or what their protocols are but I'm going to look into it.

Anyone familiar with this show from 1963 or so? Five episodes total apparently. One hour TV show with live music and lengthy discussions describing what's happening for the lay person. I have heard episodes with Thelonious Monk (with Charlie Rouse), Sonny Rollins (with Paul Bley and Billy Higgins) and Horace Silver (with Blue Mitchell and Junior Cook). I've heard pieces of a 4th episode with Art Farmer. I don't know who the 5th artist was. These are great. Great playing, interesting conversations.

Hi Pim, Glad you are enjoying the record. If I remember correctly, I think covid cancelled us in Rotterdam in 2020. I guess they owe us a gig. We have a few dates in Europe this coming November but nothing yet in your neck of the woods. Hopefully next year.....

The tune you are thinking of is The Call of the Wild and Peaceful Heart. The Cookers perform this tune pretty regularly and it opens a lot of our shows.... The tune is in 9 but it is not a typical 9 which is usually sub-divided into 3-3-3. In this case it is subdivided more like 4-5 or as someone in the band said 4-1-4. I would go with 4-5. Though perhaps a little rough around the edges, here is a pretty decent live performance of it....

The story I've always heard is Joe got some stuff early on, some go as far as saying Joe was rooming with Junior for a while when he first got to NY. The consensus though is Junior first, then Joe. The greats always take everything from everyone and go from there. There is no argument that Joe ran with it in a way that few can touch. What I hear are the similarities in tone (though what I heard later on was the Junior had a bigger sound) but I also hear a lot of the trills Joe did later coming from Junior though they are sped up quite a bit, Joe developed so much facility on the instrument. I got to play with Junior quite often when I first got to New York because I was hanging with Bill Hardman all the time and he bought me to all their gigs and let me sit in. When Junior caught fire though, it was unbelievable..... I remember a night at a dive bar in Brooklyn called Flamingo I think. We were playing Moments Notice and Junior went off. The place went nuts and Junior was just standing there taking it all in. Finally he started clapping too and said yeah, that was pretty good....

Unfortunately Gregory passed away last year I'm told. What time period is your bootleg from?

Thought I did that but it didn't work for me (perhaps because I was replying to something?). Anyways, I got it now. Thanks Hutchfan. Wish it was for a more noble cause...

Yes, I'm aware. I said a cover of a cover. I wish I knew how to embed videos here though....

Sorry, I don't know how to embed the video. Some say they are the future of Jazz but they are doing a cover of a cover and the pianist is reading the chart.....

How about https://www.youtube.com/watch?v=bVelbi4D99Q

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....