Mark Stryker

#JazzFromDetroit!!

That's a great track. I like the whole record quite a bit. This one has always been a favorite.

Sonny Rollins: A Personal Top 10 and Bonus Tracks. Official releases, unreleased material, and bootleg live performances. The order of a couple of these could shift but titles probably not, though I am still trying to figure out how to squeeze "G-Man" into my bonus tracks. The center of gravity is weighted decisively toward the 1960s. Top 10 1. A Night at the Village Vanguard, 1957 (Blue Note) 2. Paris concert, 11/4/65 3. The Standard Sonny Rollins, 1964 (RCA) 4. Alfie, 1966 (Impulse) 5. Newk’s Time, 1957 (Blue Note) 6. The Sound of Sonny, 1957 (Riverside) 7. Now’s The Time, 1964 (RCA) 8. Saxophone Colossus, 1956 (Prestige) 9. Newport Jazz Festival, 7/7/63 10. Falling in Love with Jazz, 1989. (Milestone) Bonus Tracks in chronological order 1. There’s No Business Like Show Business (Worktime), 1955 (Prestige) 2. Misterioso (Sonny Rollins Vol. 2), 1957 (Blue Note) 3. Freedom Suite (Freedom Suite), 1958 (Riverside) 4. If Ever I Would Leave You (What’s New), 1962 (RCA) 5. Lover, Village Gate, 7/28/62 6. Oleo, Paris, 10/31/65 7. Three Little Words, Copenhagen concert, 9/6/68 8. First Moves (The Cutting Edge), 1974 (Milestone) 9. Best Wishes (Road Shows Vol. 1), 1986 (Milestone) 10. Darn that Dream (Old Flames), 1993 (Milestone) Break Down by Decade: 1950s: 4 LPs, 3 bonus tracks 1960s: 3 LPs, 2 complete bootleg performances, 4 bonus tracks 1970s: 0 LPs, 1 bonus track 1980s: 1 CD, 1 bonus track 1990s: 0 CDs, 1 bonus track

Closing the circle on this: Per Liebman's liner notes to the Elvin set on Mosaic, Perla had a third composition ready to go on the date that was part of planned trilogy with his other two pieces, but for some reason the producer cut the date short -- Liebman doesn't name him but it was George Butler. Definitely odd and mars what is otherwise a very rewarding record.

KIrk Lightsey -- #JazzFromDetroit

I loved "Maestro" and would encourage anyone to see it. It is not a traditional biopic and that is a strength, not a weakness. Yes, it focuses on Bernstein's personal life -- it is a character study -- particularly his relationship with his wife, Felicia, and children and how he navigated this territory as a gay or bisexual man, born teacher, and an artist of the first order; and in some ways the film is as much about Felicia as it is about Lenny. You do get a real sense of Bernstein as an artist, as a vessel for music, and for the way he was pulled in many directions and that being so good at so many things was not always helpful to his psyche. The film is melancholy. There is a TON of great music throughout the picture but it is not a music history lesson. The film is not perfect but it is very good, sometimes great, often inventive.

Interjecting here to say that while I certainly cannot speak for all university presses or Allen's experiences, the University of Michigan Press paid me a modest advance for Jazz from Detroit -- half upon signing the contract, half upon delivery of the manuscript -- and I have received royalties annually since publication. Now, it is an exceedingly small return, particularly given the years of work involved and my own dollars that went into it -- I had to pay for the indexing and some of the photo acquisitions. I have no doubt that Allen's self-published books have netted him a higher return per title than my book did through a university press. But it has not been nothing.

Glenn Gould's only recording on organ to my knowledge. 1962 release.

Folks are sleeping on one of the greatest solo piano records in the canon -- "Have You Met Hank Jones" (Savoy), recorded in 1956. It also was reissued on LP as as "Solo Piano" in the 1970s. It's peerless -- the best of Hank's solo records and I'd put it up against anything by anyone. Coda: Was glad to see Roland Hanna mentioned by way of "Free Spirit" -- he was truly a profound solo pianist, more compelling in the idiom that any of his contemporaries. I would note that "Free Spirit,} which you sometimes see titled as "Solo Piano," is a double CD reissue and star of the show is the 1979 LP "Swing Me No Waltzes" that makes up half the set -- Roland's best record. Also, I find the CD sound disappointing. Thin and tinny and not faithful to Roland's fulsome sound and the better sonics of the original LPs.

The LP was titled "Love Is The Thing" (Red Records) but, ironically, that song wasn't included. This is my favorite track.

Sorry the delay in responding. I was locked out of the site for a while. This is great stuff. I've heard some other Grossman from around this same period --1986 -- that is fantastic and related to his playing on "Love Is The Thing" from the same period with Walton, Williams, Higgins --easily Grossman's best post-1980 record. There was a moment when he seemed to be synthesizing his earlier "Trane" inspiration with his later "Rollins" inspiration and reach a whole new level. I think this was relatively short lived but when he was on, it was FANTASTIC. I need to spend more time with the live tapes from the 1980s, 90s and beyond to continue to hone my thoughts -- not necessarily to overall my entire thesis but to account for the greatness that never entirely left him.

I saw the Detroit production referenced here. There are still some issues with the libretto but the whole makes an impact. Not a perfect opera, but a powerful one, especially in terms of music and stagecraft. https://www.nytimes.com/2023/11/01/arts/music/malcolm-x-opera-met.html

Cover story in the latest issue of the Nation. https://www.thenation.com/article/culture/louis-armstrong-archive/?fbclid=IwAR39LE3RrJpq2a89Bru-6g3m8DExnVyEPuL_6-Qr4ADPNfcxl94od-x1e3w

This quest has vexed me too -- to find quality LP versions of this material in good sound with smart curation that includes correct and/or superior takes. My first Charlie Parker record as a kid, c. 1975 was "Byrd Symbols" on Charlie Parker Records. I still think it's the best single LP selection of Dial material, but the version I had was obviously simulated stereo and as I got older, I grew to dislike it sonically. So, question: Are there earlier mono or reissued mono versions of this record that anyone can vouch for? Have always wondered what the sound quality of the Joker LPs. Anybody got an opinion on this? I got the 2LP Warner Brothers set up on release but was always disappointed in that, as I recall, several tracks are inferior alternate takes rather than the masters (and didn't match my Bird Symbols LP) and all the ballads are frontloaded on Side 1. (Side 2 of Bird Symbols is mostly ballads, but "Scrapple" is there to break up the monotony of tempo. The sound is good but the pressing quality is dubious, and many copies I've heard have been flawed. Caveat Emptor. That said, the packaging is aces, including the insert with reproductions of a half dozen Parker-themed paintings by significant artists inspired by Bird -- those inserts are VERY scarce now. I've not heard the 2-LP Spotlight compilation but I can see from photos that it has a problem that, in my view, plagues MANY compilations of this material, especially the CD collections. The first take of "Embraceable You" is one of the greatest (and most frequently analyzed) ballad performances in jazz history, but far too often it gets left out of compilations in favor of the second take (which is good but not nearly as fine as take 1) because of the general principal that the master take is the final take that the band did in the studio. Whether or not that's generally true, this is one case where the smart choice for reissue producers to go with take 1 (which, by the way, is the one on "Bird Symbols" and the Warner Bros twofer.) I am curious which take of "Embraceable You" was actually the one that was first released on Dial on 78. Anyone know?

https://www.nyrb.com/products/the-notebooks-of-sonny-rollins

I don't understand the complaint. Are you referring to the reaction among board member or attention in the wider media landscape? The NYT had a substantial obit posted quickly that had obviously been pre-written -- a sign of the respect with which she was held. Here's a list of obits via Google. Not all are in depth but it's a different media environment than 25 years ago. https://www.google.com/searchsca_esv=574459239&sxsrf=AM9HkKkUVH41WW1jK0Db100vpq09qX3kuw:1697639242331&q=carla+bley&tbm=nws&source=lnms&sa=X&sqi=2&ved=2ahUKEwjj2_r_5v-BAxUVtYkEHQMzAroQ0pQJegQIExAB&biw=1536&bih=707&dpr=1.25

The downside to the '70s domestic Genius of Charlie Parker LPs on Verve was that they are simulated stereo. The Japanese LP versions from the '80s are an improvement for sure but not ideal either in that the drums/cymbals are disappointingly low in the mix. Clean copies of the older domestic Verve issues from the '50s and '60s, whether in the Charlie Parker Story series (three volume, yes?) or the Genius of Charlie Parker series or various individual LP releases not in any series -- or even the three Bird twofers from the '70s -- almost always sound better to me than the Japanese reissues of this material.

Here's an index to part of the Avakian archives at the New York Public Library. Use the guide on the left and click on the Series IV: Audio and Video Recordings. Scroll down to see recordings from the sessions he produced that are available to anyone for study. He probably took these home as reference recordings and/or editing. https://archives.nypl.org/mus/22589?utm_source=substack&utm_medium=email#detailed

Lewis Porter gives us a previously unreleased "Three Little Words" from the Sonny Meets Hawk session. Incredible stuff, especially from Hawkins, who comes at Sonny on the younger man's turf. Point made. https://lewisporter.substack.com/p/rollins-and-hawkins-an-astounding?utm_source=substack&utm_medium=email

Happy birthday, Julius Watkins, born in Detroit on October 10, 1921. #JazzFromDetroit

Yes. Valuable book, especially the insightful, close readings of individual films, and draws out themes and connect the dots between films and generations.

FWIW, I wrote this a few years ago about my favorite Charlie Parker live recordings. It's been post on the forum in Jazz in Print threads, but seems like this is a good place and time to post it again. Had a lot of fun putting this together. https://ethaniverson.com/live-bird-is-the-best-bird-by-mark-stryker/

Some folks have mentioned Nick Brignola in conjunction with Woody, but there may be some confusion. Nick Brignola did play baritone sax with Woody in the early '60s. I don't know how long he was on the band. However, a MIKE Brignola was on Woody's band for a much longer tenure in the 1980s. If you saw Woody in those years, it was Mike not Nick you heard. I don't believe the two bari-playing Brignolas were related.

"Succotash" in my experience was a GREAT sounding LP, at least in its "black b" version from 1973 I've not heard the "white b" reissue from 1975 so I can't speak to the that but have always assumed it sounded excellent too -- still a real bargain in terms of Blue Note reissues. "Inventions and Dimensions" was always scarce and expensive and I assumed this was because it was never reissued under its original cover in United Artists blue label white or black b versions in the '70s. There are Liberty reissues up to a 1970 black/turquoise version and a 1971 Division of United Artists version with a classic blue/white label and black text. I have have also assumed that "Succotash" appeared with a non-traditional Blue Note cover because the label was trying to capitalize on Herbie's skyrocketing fame in the '70s. I could be wrong about the this. and perhaps there's another reason. What are the other Blue Notes that got a similar treatment? Cannonball's "Somethin' Else" is one. Others?