david weiss

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.

Not much you can do about the drums I'm afraid. 4 track recording with the drums all on one track so there is not much one could do about the balance of the kit or panning or whatnot. He is still a great player. I hear a lot of Joe Henderson in him on these recordings.... More precisely, they turned the tape machine off the minute they heard the first notes of the melody of Ceora. Saving tape I assume and not recording a tune they knew they would not use for the recording. Hey, the LP set is sold out already I'm told it shipped sold out. As I said months ago, I believe the vinyl craze got this made and a reasonably priced CD set is the byproduct of this phenomena and the least they could do for the rest of us. I guess the CD sales will tell them how much real interest there was in this set in the long run and yes, I assume they can do another LP pressing run down the road at some point.

OK guys, I can't say I'm really that familiar with his writing style but I met the author at the Schomburg when we were both going through Sonny's archives stored there. I know he talked to Sonny a lot and did a lot of research. When we talked about all things Sonny, he did seem to have some knowledge on the subject so from the research side of things, this should be good. I believe he is/was a saxophone player not that that matters much but I think he has more of a back round in Jazz then a Lou Reed bio might imply. He is well versed on the subject, that is for sure but as I said, I can't speak on his writing style yet but I think this will be the most thorough bio we've had on Sonny and that is probably a good thing.

HE DID NOT HAVE A STROKE!!!! This was a false rumor spread around in an e-mail chain earlier this week and is completely not true. He is fine. He was released from the hospital on Tuesday and is home and doing OK.

Not to hear them tell it....

And sometimes they treat you to the nicest dinners....

Well, there would be a different deal for original releases I suspect and negotiation directly with the artist if they were the source of the material. I never said the licenser got a royalty as well (though this is not unheard of), I said they get a fixed price based on the number of LPs or CDs pressed... But then there is also downloads.... It depends on how it is released. If it is for record store day, it does need to be a fixed amount. If for general release, it does not have to be a limited edition. I have not implied any nefarious intent on Mr. Thomas' part for only pressing 2,000 copies and making it a vinyl only release. I've just said that this could effect the artist's ability to earn a decent paycheck for his work. I have not estimated any profits for Mr. Thomas, just stated that his payday was bigger then the artist involved. Perhaps that's fine but it really depends on how much more, no? I've had plenty of pleasant conversations with many record label executives, many were pretty honest and some were outright thieves....

Again, Mosaic is doing collections of previously (but for an alternate take or two) released material not new material. Mosaic will deal with the record company in question, not the artist in most cases. A new recording requires permission from the artist and a fee to be paid to release this new work. INA owns the physical recording but does not own the rights to the music created on said physical recording. Technically, they can not release the music without the artist's permission. Yes, the artist can turn down the deal if it is not a good deal for them and I have had to do this a few times myself but sometimes an artist will need the money especially during, say, a pandemic and might accept an offer they would not usually accept. You can lay this at the feet of an artist saying it's the artist's fault for excepting all the shitty deals they felt they had to accept through the years but that would not really be fair. Historically, artists have been given shitty deals and that has changed a bit over the years but it has not gone away. Artists are more aware certainly but they are offered crap all the time and feel they have no choice sometimes. I can probably guess that both INA and the record label made more money off this release then the artist. I personally don't think that is fair. This might not be the cases if more records were pressed or CDs were pressed as well. I recently turned down a low offer for a similar situation to this and they remedied it by pressing more LPs to give the artist a more acceptable fee.