mjzee

Why didn't ESP release this material?

I just checked - it's the same performance.

Kate: No problem at all with the repost. Re The Seven: I think Phil Lesh makes a passing mention about it in his liner notes to Fallout From The Phil Zone, but I no longer have that release to double-check. Chewy: Is this also from 9/29/69 Cafe au Go-Go? It would be part of the archive.org link I posted above.

So I've owned a Dead bootleg for more than 40 years, simply titled GD-2233: On it, there's an amazing performance listed as "Doin' That Rag / Jam" recorded "November 1970, Action House, L.I." But the Dead didn't play DTR after 1969, and they didn't play the Action House in November 1970. After searching a long time for more details, I found it today on archive.org. It was a performance at Cafe au Go-Go in Greenwich Village on 9/29/69. The amazing jam is a composition titled The Seven, which they played only 4 times in its existence. See: https://archive.org/details/gd69-09-29.aud.early.hollister.79.sbeok.shnf/gd69-09-29t06.shn I recommend the VBR M3U for a seamless listen.

Thanks for the heads up; I've placed my order for the Jordan.

Sarah Vaughan - In The City Of Lights, $5.00 from Amazon. Kenny Werner - Me, Myself & I, $5.00 from Amazon.

Thanks for the info, Kevin. I wrote him a letter. BTW, I noticed fasstrack posts on that jazzguitar.be site.

When I was head of the jazz concert commission at SUNY-Binghamton 1974-75, our last concert was a free one with the DeJohnette/Abercrombie group with Alex Foster and Peter Warren (Sorcery was DeJohnette's current album; the group I described played on his next album Cosmic Chicken). They all drove up from Woodstock for the gig. What I remember most is that at one point during the show, the band members all switched instruments (I think by passing the instrument to the musician on his right); so Abercrombie played drums for awhile, etc. It was a lot of fun.

Track 1: Quartet. Strong tenor, perhaps came of age before the 60’s because he didn’t go out during his solo. Must be someone of some renown, because it sounds like a bootleg recording. Drummer driving things. I’d say Blakey except Blakey never kept such a rock solid beat…maybe Philly Joe because of those little fills he does. Confirmation just might be my favorite Bird tune. Very enjoyable performance. Track 2: I’m guessing Herbie Mann with Miroslav Vitous, somewhere around the late ’60’s. Light and airy. Track 3: “Burry” trombone. Spends a lot of time making his point. Roswell Rudd? Sax does the same. Art Ensemble? Bassist relegated to a drone…too bad. Track 4: New Orleans drums, then guitar trio (guitarist sounds a little like Scofield), then other instruments enter. Buzz in the background makes me think this is a private recording? Bari sounds contemplative. Trumpeter not on the same level, either in tone or concept. Other than the trumpeter, I liked it. Track 5: Joe Henderson? I like the color the vibes brings, but wish the vibist was more assertive. A tentative bass clarinetist…really? Be big or go home. The rhythm section is probably the best thing about this track. Track 6: Wayne Shorter influence in the writing. I always do like congas in the ensemble. Time signatures make me think early 70’s. Sounds like Curtis Fuller on trombone. Track 7: Sounds like Wayne Shorter on soprano and Herbie on piano. Track 8: Sounds like an L.A. big band from the late ’60’s - right from the date where they backed The 5th Dimension on Up Up And Away. Sounds like that anyway… I don’t know many of those bands, so I’m going to guess Woody Herman. Track 9: Strong tenor. Guitar lends some nice color; strong drums too. Still, it’s the tenor’s showcase all the way. Fun sound, but I wish the track went somewhere. Track 10: Interesting track. The musicians are itching to go out, but something restrains them. Is there a tension between the grooving bassist and the impatient pianist? Is this one of those Pharaoh Sanders things on Theresa? Nice tune. Track 11: This might be my favorite track on the BFT. Happy music, thoughtful playing, well recorded. No clue who it might be. Thanks for posting! I’ll be looking forward to the reveal.

Thanks for the feedback, Hot Ptah; I'm happy that you enjoyed the B.T. Besides the usual criteria (choose tracks that are not too obvious, have some kind of hook for our usual attendees, some elements of surprise, etc.), coming from a college radio background, I tried to make the "set" listenable and enjoyable - and I'm glad that came through. Re Hank Garland: the jazz "hook" is that his first album included a very young Gary Burton. He got into a serious car accident not long after, and pretty much stopped playing. Re Dylan: the guy can play.

Lionel trains, too. No kids, just a bunch of greying men. As regards jazz (and music in general), there was a recent letter to the editor in The New Yorker that I thought was very perceptive. It was in response to an article about prog rock: "Sanneh’s excellent survey of prog rock overlooked one explanation for why it came to dominate the United States mainstream in the seventies: its first fans were the last children of America’s peak middlebrow culture, whether or not they’d call it that. This was a generation reared on Liberace and regularly exposed to opera and classical performances alongside their pop idols on “The Ed Sullivan Show.” It’s perfectly logical that they would embrace a strain of rock that aspired to cultural and technical sophistication. With the disappearance of classical music from television, so went the ability to understand how anyone could like prog rock. For prog artists with lofty pretensions to high art, “middlebrow” may be the most stinging insult of all."

Track 7: Island In The Sun (I. Burgess). Charlie Hunter - 8-string guitar; Earl "Chinna" Smith - acoustic guitar; Ernest Ranglin - electric guitar; Shawn Pelton - drums and programming; Manolo Badrena - percussion. 2005. From "Earth Tones" (BMC). I liked the description "John Scofield meets Jimmy Buffett." Track 8: Chillin' (Rudresh Mahanthappa, based on "Relaxin' At Camarillo"). Rudresh Mahanthappa, alto sax; Adam O'Farrill, trumpet; Matt Mitchell, piano; François Moutin, acoustic bass; Rudy Royston, drums. August 4 & 5, 2014. From "Bird Calls" (ACT). Track 9: Mighty Fine (Baron). Arthur Blythe, alto sax; Bill Frisell, guitar, Ron Carter, bass; Joey Baron, drums. 1997. From "Down Home" (Intuition). RIP Arthur Blythe. Track 10: Da Duh Dah (Curtis Ousley). King Curtis, tenor sax; Nat Adderley, trumpet; Wynton Kelly, piano; Paul Chambers, bass; Oliver Jackson, drums. 4/21/60. From "The New Scene of King Curtis" (New Jazz; I have it on the "New Jazz" OJC sampler). Was pleased to see that I could stump so many of you with this. Track 11: M.F. Blues (?). Budd Johnson, tenor sax; Earl Hines, piano; Bill Pemberton, bass; Oliver Jackson, drums. 12/29/77. From "The Father of Modern Jazz Piano" (M.F. Distribution). This box set has been discussed on this board a few times in the past year. Track 12: Stardust (Carmichael, Parish). Lionel Hampton's Jazz All-Stars: Lionel Hampton, vibes, piano; Clark Terry, trumpet; Thad Jones, trumpet, flugelhorn, arranger; J.J. Johnson, trombone; Lucky Thompson, soprano sax; Coleman Hawkins, tenor sax; Hank Jones, piano; Arvell Shaw, bass; Osie Johnson, drums. 4/15/65. From: "Jazz All Stars, Volume One" (Who's Who In Jazz; I have it on a box set "Black And White Box Of Jazz" from Castle Communications). What a band! It makes me wonder what's the story with this session. Track 13: Smooth As The Wind (Dameron). Tommy Flanagan (p) Ron Carter (b) Roy Haynes (d). NYC, October & November, 1975. From "Positive Intensity" (CBS Japan). Just a pretty tune. Track 14: Tammy (Evans, Livingston). Hank Garland, guitar. From "Velvet Guitar" (Columbia; I have it on the Sundazed release "Move! The Guitar Artistry Of Hank Garland"). Short and sweet. Track 15: In a Little Spanish Town (T'was On a Night Like This) (Lewis, Wayne, Young). Yusef Lateef, tenor sax. March 1976. From "The Doctor Is In...And Out" (Atlantic; I have it on a 32Jazz compilation). Track 16: Woogie Boogie (Dylan). Bob Dylan, piano; other musicians uncertain. From "Self Portrait" (Columbia). Thanks to those who participated!

Track 1: I'm Just Wild About Harry (-2) (E. Blake-N. Sissle). Noble Sissle And His Orchestra Featuring Sidney Bechet: Wendell Culley, Demas Dean, Clarence Brereton, tp; Chester Burrill, George Matthews, tb; Sidney Bechet, cl, ss; Jose Madera, Jerome Pasquall, cl, as; James Tolliver, ts, arr; Gil White, ts; Erskine Butterfield, p; Jimmy Miller, g; Jimmy Jones, b; Wilbert Kirk, d; Noble Sissle, dir; Billy Banks, vcl. Recorded 4/14/37. From: Sidney Bechet (Mosaic Select 22). I've always loved this song, and songs from this era. I thought it was so cool that the band was led by the person who wrote the song. And, of course, Bechet is great. Track 2: You'll Never Know (Harry Warren, Mack Gordon). Charles Owens New York Art Ensemble: Charles Owens, tenor & soprano sax, alto flute & flute; James Newton, flute; Red Callender, bass tuba; George Cables, piano; Ray Brown, bass; Roy McCurdy, drums. 2/15/80. From: Charles Owens Plays The Music of Harry Warren (Discovery). An unheralded musician, but a consistently excellent album. Track 3: The Mooche (Ellington, Mills). Herbie Mann, fl; Dave Pike, vb; Earl May, b; Bruno Carr, d; Carlos "Patato" Valdes, cga; Jimmy Owens, tp; John Hitchcock, Joe Orange, tb; Oliver Nelson, arr, cond. November 18 & 19, 1965. From: Herbie Mann Today! (Atlantic; I have it on a Collectibles 2-fer). Dig the op art cover! Track 4: Little Train (Villa-Lobos). Niels-Henning Orsted Pedersen, bass; Sam Jones, bass; Philip Catherine, guitar; Billy Higgins, drums; Albert "Tootie" Heath, percussion. 2/15 & 16/76. From: Double Bass (SteepleChase). Another well-thought-out date. NHOP and Sam Jones, complement each other beautifully, and Philip Catherine lends the color. Track 5: In A Sentimental Mood (Ellington, Kurtz, Mills). Phyllis Hyman, vocalist. From the Original Cast album of "Sophisticated Ladies" (RCA; I have it on an Arista compilation "The Legacy of Phyllis Hyman"). A very identifiable vocalist, mostly stuck in a disco groove during her career. Track 6: Medley: The White Sheik, I Vitelloni, Il Bidone, The Nights of Cabiria (Nino Rota). William Fischer, arr, cond; Wynton Marsalis, tp; George Adams, ts; Branford Marsalis, woodwinds; Kenny Barron, p; Ron Carter, b; Wilbert Fletcher, d. 1981. From: Amarcord Nino Rota (Hannibal). The first of the Hal Willner concept albums, arguably the best.