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I’ve listened to the Waldron but I could see why people aren’t happy with the sound. Lot of background noise, bass hardly audible and drums not very much either.

I have all the releases so far except the Collier. Looks promising for the future!

A warmer morning! Should be a beautiful day. We’re due for another! Starting off with “Motion II” by Out of/Into which is a great “supergroup” of jazzers now on the scene. I’ve been neglecting “In A Silent Way”–it’s been too long since I’ve spun this one. I’m listening to the Mobile Fidelity Lab SACD.

I didn’t see this posted here. If it is, you can remove this post. Joe Segal's 10,000+ Jazz Recordings. Wow... This could be a treasure of jazz recordings from Joe Segal, former owner of the Jazz Showcase in Chicago. =================================== This is from the Chicago Tribune newspaper: Never-before-heard tapes by late Jazz Showcase founder hit shelves — just in time for his 100th birthday. By Hannah Edgar | For the Chicago Tribune PUBLISHED: April 27, 2026 at 5:45 AM CDT In 2012, record producer Zev Feldman was on a mission. He’d recently released two hugely successful archival recordings on Resonance Records — a label he now co-runs — and he was on the prowl for more.Mutual friends told him the same thing: You have to meet Joe Segal. By then in his 80s, Segal was still co-running the Jazz Showcase, the club he founded as a floating jazz series in 1947. Over breakfast, Segal handed Feldman a CD of saxophonist Stan Getz, playing live at the Showcase. Eager, Feldman asked if he had more recordings. “He said, very nonchalantly, ‘There’s more where that came from,’” Feldman recounts. Around 10,000 more, in fact. Unbeknownst to most, Segal, who died in 2020, had fastidiously captured years of Jazz Showcase performances from the venue’s soundboard, with musicians’ consent. Three trips to Chicago, countless crates and about a year-and-a-half of nonstop listening later, Feldman has curated four double- and triple-LP sets gleaned from live Showcase performances in the 1970s. The records document long-past performances by saxophonist Joe Henderson and his quartet; pianist Ahmad Jamal with bassist John Heard and drummer Frank Gant; multi-instrumentalist Yusef Lateef with pianist Kenny Barron, drummer Albert “Tootie” Heath and bassist Bob Cunningham; and pianist Mal Waldron with saxophonist Sonny Stitt, bassist Steve Rodby and drummer Wilbur Campbell. All four albums were released on vinyl on April 18, Record Store Day, with a CD and digital release on April 24 — what would have been Segal’s 100th birthday. Feldman thinks the Segal collection may be a strong contender for the most extensive live jazz archive of its kind in the world. He notes that Segal often recorded multiple renditions of the same tunes, across evenings — a producer’s dream. “In all of my years of experience, there’s nothing like it anywhere in the world. Not at the Library of Congress, not at Oberlin, not in France, where the ORTF and Radio France archive is, or the BBC,” Feldman enthuses. “It’s like the Fort Knox of jazz in Chicago.” Armed with a Wollensak reel-to-reel tape recorder, Segal also recorded shows at other city venues. This first batch of albums includes one such show: a 1967 set by singer-songwriter Terry Callier at the now-defunct Earl of Old Town, released on Feldman’s own label, Time Traveler Recordings. In addition to presenting concerts at the Earl, Segal once worked a day job as a host at the folk venue — one of many he held over the years to finance the Showcase. “People would ask us, ‘Are you not for profit?’” says Wayne Segal, Joe’s son and the current proprietor of the Jazz Showcase. “And we would say, ‘Yeah, we’re not-for-profit, but not by choice.’” Owner Wayne Segal inside Jazz Showcase, the club his father, Joe Segal, founded, in Printers Row on April 14, 2026. (Eileen T. Meslar/Chicago Tribune) Growing up in a working-class Philadelphia family, Segal first discovered jazz on the radio. After military service downstate, he moved to Chicago to attend Roosevelt University on the GI Bill. “From then on, I always was around musicians,” Segal told the Tribune in a 1992 interview. “Musical people charmed me. I admired them for being able to do these things, because I couldn’t.” Higher education didn’t appeal to Segal much, beyond the cachet it gave him to pursue his life’s passion. He wrote about jazz for the Roosevelt University Torch and produced his first concerts under the university’s banner — Charlie Parker was an early guest. Roosevelt didn’t get wise until a decade later, at which point he was kicked out without a degree. College didn’t stick, but concert presenting did. After bopping around venues, the Jazz Showcase planted deeper roots under the Happy Medium in Streeterville, then the Blackstone Hotel. It spent about a decade at 59 W. Grand Ave. before moving to its current location, 806 S. Plymouth Court. The list of notables the Showcase has presented over the years could fill a book — though the club’s North Star was always Segal’s beloved bebop. In his last minutes, Segal was listening to Charlie Parker, whose visage still dominates the Showcase stage’s backdrop. Segal was named an NEA Jazz Master in 2015. Decades after dropping out, his alma mater, Roosevelt University, finally presented him with a degree: an honorary doctorate. “Aside from the musicians themselves, no one did more for jazz in Chicago than impresario Joe Segal,” wrote former Tribune jazz critic Howard Reich when Segal died in 2020. The musicians who frequented the Showcase weren’t just headliners but friends. Segal was around the same age as many of them — including those documented on this first batch of releases. Henderson and fellow tenor Johnny Griffin used to play at the Showcase every April 24 to celebrate not just their shared birthdays but Joe’s too. Wayne remembers trying to care for his father in his last years, only to be waved off during hours-long phone conversations with Sonny Rollins. And in the Showcase’s scrappier days, Segal would let artists crash on his couch, or request a cut only equal to his bus fare home in order to make sure they walked away in the black. Though Segal is gone, his artist-first ethos guided the Resonance and Time Traveler releases. Feldman worked closely with the late artists’ estates to ensure that royalties go to their next of kin, where they belong. “A lot of families are very happy that these recordings are coming. It’s not just the fans,” Feldman says. “It’s always about the musicians, and I know Joe would feel very passionate about that, too.” As for what’s next, if it were up to Feldman, nearly all of Segal’s records would be released to the public. But he has to be fiscally “realistic.” Nor will he budge without full signoff from artist estates. “I’ve got to run my P&L, my financial analysis, my forecasting. It’s where the rubber meets the road in terms of the economics of these projects,” he says. “A project can hemorrhage a company if it doesn’t do well.” But — to echo Segal — Feldman promises there’s much more where these five releases came from. Though details are still getting worked out, he promises a bevy of A-listers, many of them in tantalizing and unusual configurations. “Imagine seeing all of your idols, the people that you really immortalize and worship. They were on these tapes,” Feldman says. Owner Wayne Segal holds CDs of live recordings of artists from their performances at Jazz Showcase on April 14, 2026. (Eileen T. Meslar/Chicago Tribune) The five releases are hitting the streets a year before the Jazz Showcase’s 80th anniversary — a remarkable milestone for a jazz-only venue. Wayne says the club has buoyed a surge of young audiences, particularly college students. Some have crossed state lines to attend, checking out the Showcase during a weekend in Chicago. Some are enrolled at the Loop schools just a short walk away — like Roosevelt, his dad’s alma mater. It’s just another way his dad’s spirit is made new every night at 806 S. Plymouth. “He’s still with me here,” Wayne says. “I walk up the stairs, I turn the key, I come in the club and I go, ‘Hey, Pops — we’re gonna have a good night tonight.’” “Joe Henderson — Consonance: Live at the Jazz Showcase,” “Ahmad Jamal — At The Jazz Showcase: Live in Chicago,” “Yusef Lateef — Alight Upon The Lake: Live at the Jazz Showcase,” “Mal Waldron — Stardust & Starlight: At The Jazz Showcase” and “Terry Callier — At The Earl of Old Town” are all out now; For more information at resonancerecords.org. Hannah Edgar is a freelance writer.

Thanks very much! So it IS on that site. The search page I checked dit not list that magazine - for whatever reason ... After a first glance at some issues I'd say that mag is a great source of information for collectors of historical turntables, radios and amps. Filtering out the jazz content is a bit more of a chore. And to say that the categories in the "Reviews" section do reflect somewhat "conservative" tastes would be quite an understatement (just look at the typical contents of the "Music in between" and "Folk" sections ). The advent of R'n'R must have unsettled them no end (though they'd probably never have admitted it on their pages) ...

PDF files for the publication are available here: https://www.worldradiohistory.com/Archive-All-Audio/High-Fidelity-Magazine.htm here are the search results for John S. Wilson: https://www.worldradiohistory.com/Archive-All-Audio/Archive-High-Fidelity/Search/search.cgi?zoom_sort=0&zoom_xml=0&zoom_query=John+s.+Wilson&zoom_per_page=10

Not mincing one's words (particularly in areas such as reviews) is far from the worst of character traits. And something unfortunately more and more lost these days. "Reviewers" afraid of panning a record (or book or movie or whatever) when called for in their opinion and proceeding along the lines of "if I dont like it I won't review it" instead is a way of chickening out IMHO. Actually, checking my book shelves I see I do own the "The Collector's Jazz" (Swing and Traditional Jazz) by John S. Wilson, but honestly, whenever I consulted it (not that often, admittedly) I never did so to really distill the author's preferences out of the book. @hopkins: Would you have a link to the online source for "High Fidelity"? What you said sounds interesting. THe magazine does not seem to be on the World Radio History site.

May 4 Ron Carter - 1937

I saw Rez Abbai with his newish group at the Rex: Rez Abbasi - guitar Marta Sanchez - piano Chris Lightcap - bass Hamir Atwal - drums They are heading into the studio soon to record. I actually went two nights in a row, which was probably unnecessary. They played the same set each night (even repeating the same song from the first set to the second!), as they are still building their material. I suppose I was expecting that they might have mixed up the occasional standards a bit more... I picked up a couple of his CDs and had him sign Snake Charmer. I was pretty bummed that the late night set on Sat. was cancelled due to a Toronto Hydro power outage! Anyway, next week Don Byron is back in town, playing with a larger group this time, and I will be going next Sat.

***** ***** ***** ***** *****

John- I don’t know how to post here. I emailed you a photo. Nice to hear from you. James

I look at it like the Sarah was the be but of the song and the Raeburn was the debut of the full composition. Dizzy was present for both,fwiw Perhaps overlooked today is what a hustler Dizzy was in those very early days of bebop.

However, this one is given as 12-31-1944:

let's not forget Maria Rivas...

So the Sarah Vaughn was the month before. (December 31st, 1944. At least that's what it says on the Smithsonian double Lp "Dizzy Gillespie: the Development of an American Artist, 1940-1946".

During Sunday afternoon:

Track 1 was identified earlier as Smoke Gets in Your Eyes, neither Seamus Blake nor Kurt Rosenwinkel is present. Track 2 was previously identified as being Walt Dickerson, but Richard Davis is not the bassist. Track 12 is not King Curtis. Track 14 is indeed Archie Shepp and Horace Parlan, from the album you cited. Track 15 does not feature Louis Hayes, Abraham Burton, Steven Nelson, or David Hazeltine. Track 16 does not included Wallace Roney, but Billy Pierce is heard on tenor saxophone.

There have been a few Francis Wolff photography books. Can you post pictures of the two books to be sure which titles are in play? Thanks.

Since Sarah Vaughan’s Continental recording (as “Interlude”) was made on December 31, 1944, this one might be slightly earlier. Dizzy is also featured on it. It appears Boyd Raeburn first performed it during a live show in New York on January 17, 1945, and Dizzy was there as well. Tristano recorded “Interlude” in New York in October 1946, which was quite early in its adoption. It’s unclear where Tristano first heard “Interlude”—perhaps he heard Raeburn in NY, or maybe he was already friends with Dizzy at the time. Interestingly, Stan Kenton was performing a song titled “Interlude” around the same time. However, when I listened to the March 1947 recording included in the Mosaic box set, it turned out to be a different song with the same title, unrelated to “A Night In Tunisia.” This might be a distant reason why Dizzy changed the song’s title and, in later years, didn’t have very favorable things to say about Kenton.

I like it. But it is not essential Ella.

January 26,1945