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Sounds like Resonance is moving away from the Seattle tapes as a source. While the opening batch didn't make me open my wallet I do have hopes for future enticement.

Wilson is hard to categorize. For example, I came across some glowing reviews of Roland Kirk albums (Blacknuss, and Rahsaan Rahsaan) or Yusef Lateef, Charles Mingus... Still going through the many issues available...

Re-visiting this recent release from Japan. Kenny Burrell “Round About Midnight at the Cafe Bohemia” Blue Note Japan 2 SACD release, disc 1  

I thought the Waldron sounded okay, it was the Evans I was referring to as persons not liking the sound. The first set has distortion that is unpleasant to hear. The second set sounds better.

A few factual odds'n'sods to add to this discussion: a) The label shot of the double-billed "Night in Tunisia (Interlude)" on Electrola (EG 7778) is no indicator of any transitional period where both titles may have coexisted. This German pressing visibly was released nowhere near the actual recording or U.S. release date of this version of "Night In Tunisia". The next one up in the Electriola catalog was "Cubana Be / Cubana Bop" by the Gillespie band on Electrola EG 7779 originally recorded on 22 December 1947 (about 22 months later!) - of which I have a copy in my collection, incidentally. So Electrola visibly released a batch of Gillespie recordings in 1948. It is quite possible that they simply added the "Interlude" part because they were aware of this original titling and wanted to get this as correct as possible. (Yes, European labels in those days - when they had a lot of catching up to do jazzwise - often had knowledgeable consultants in their offices. Which may also be the reason why they even gave the recording dates on the labels, for example.) Another indicator is the note "Empf. d. GJC" in a corner of the label which means "Recommendation by the German Jazz Federation". I.e. this coupling was one of the records the German Jazz Federation had found valuable enough to recommend to its members and jazz listeners in general and therefore apparently urged a label to release a German pressing for easier availability on the home market. A process that of course took its time, hence the somewhat delayed release ... At any rate, this mention of "Interlude" had nothing to do with how this was being handled in the USA at the same time.  b) Re- the first recorded evidence of "Night In Tunisia/Interlude" by the Boyd Raeburn Orchestra: The "Boyd Raeburn" album of 1944-46 broadcast performances on IAJRC 48 lists a recording of "Night In Tunisia" (listed as such) among a batch of tunes from airshots of 27 March and 3 April 1944 at the Hotel Lincoln (NYC).  The liner notes do not dwell on this "first" (but just mention that Gillespie "sold his chart on 'Night In Tunisia' "), but this would place this performance about 8 months PRIOR to the Sarah Vaughn recording.  Which begs the question: Do we trust the knowledge of the IAJRC people (liner notes by Jack McKinney, dated 1986) or don't we and did they get the date wrong? (Which can happen, after all ...) BTW, some more indicators: According to Bruyninckx, the Raeburn band recorded "Night In Tunisia" for V-Disc (matrix VP 689, disc 275) on 11 May 1944, though I have a doubt about this recording date. My copy of the "V-Disc Catalogue" book Vol. 1 (1-500) by Wante/De Block has a handwritten note by its previous owner next to this track that reads "NYC, Dec. 24, 1944". It seems this is the date given on the back cover of the V-Disc big band LP on (Japanese) DAN VC-5026, and this STILL would place it BEFORE the Sarah Vaughn recording.  So the Mosaic box should have some info on this too. Also acc. to Bruyninckx, another on-location recording of "Night In Tunisia" by the Raeburn band (Liederkranz Hall, 13 June 1944) is on Circle LP 22.  b) Just to get this straightened out - the Tristano recordings of "Interlude" were made for KEYNOTE (the Harry Lim label), not "Keystone".