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Moving from one silly odd recording to (IMO) another. Sun Ra: Space Is The Place (Music From The Original Soundtrack) 4 disc set (2 cds, DVD, Blu-ray) cd 2 I bought this set when released and have hardly listened to it. My interest in Sun Ra has waned though I have continuing collecting. . . which is silly. . . sound here is certainly improved on what was released before. One of these days I need to watch the American Masters on Sun Ra, and re-watch “Space is the Place.”

It seems odd still to wake up and it’s warmer. Decided to start the day with a favorite. Discussing this album elsewhere led me to locate it on the shelves and replay it. I think it’s masterful. Slim at the height of his powers as an instrumentalist and of course as a vocalist. The personality and the verve of this music makes me glad to be awake and alive and attentive. “How High th Moon” is amazing here. I found myself imagining a nice big bowl of potato salad. Slim Gaillard “Rides Again” Dot/Verve cd

Another call out to Australia's Bernie McGann probably our greatest altoist

That session of 16 March 1956 (Captain Jetter/Nuzzolese Blues, etc) is very nice indeed. Pulled it out the other day during a "U.S. visitors to France" moment. The session recorded the day before for the Club Francais du Disque (I Found A New Baby/Charlie Was in Rouen/Crazy Rhythm/Charlie Went To Cherbourg) is also worth a listen. I now see I discussed it briefly with King Ubu in this thread in 2007 (19 years on now ... this decidedly makes me feel OLD! ) For some reason the French original 10" has always gone for insane prices. I had found a clean copy of the German 10" release of this back in the early 90s and later was surprised to see the prices the French 10" on CfD went for on eBay even in the early 2000s. But it's been reissued several times by now. That 1961 Paris session has escaped me so far. Apparently reissued a million times in Japan but nowhere else ever. Will have to check it out anyway.

He is one of the greatest here in Europe. I have played with him...... You are right ! Sounds superb. For me it is wonderful, to hear the ride cymbal of Tootie Heath so well. This was the first Dexter Gordon I ever had. Imagine: I came from Free Jazz, Electric Jazz and got to Bird and Bop only after I had read about him in essays about Mingus or Dolphy or Ornette Coleman..... So when I had bought my first Bird, I was eager to listen to the other Masters of Bop, like Diz, Fats, Bud, and be sure, Dexter. He was living in Europe then and it was most easy possible to hear him live. So.....after hearing him the first time, I got this LP in the record shop.....ain´t that a cute story ???? I have a certain weakness for Brew Moore since I had heard his tenor in some of the fastest company of Bop Greats that exists: With Howard McGhee, with Fats, with Miles, with Bird....., and he just kept his very Lester Young influenced style, never changed it, played all them incredible bop tunes at ultra fast tempos with his Lester Young influence. Really nice......even if I must admit I listen much more to more advanced musicians, but got idea to go back and listen to that incredible "Miles Davis - Last Bop-Session, Birdland Juni 30th 1950).... that will be music for the small hours. I can spin my stuff at a very high volume and make "scandal" since I have my own house (not bought....jazz musicians are poor! but left to me after my parents died). My sweethearts of my dreams, Princess Andreea Irina is often touring as a model, like me as a musician, and we can´t be together nonstop, and when we together.....she digs the music, we fell in love when she was in the audience when I played a gig..... !

March 8 George Coleman - 1935

Strange career, Slagle. One of those guys I almost never see mentioned, even here. I mostly know him as Steve Kuhn's saxophonist, but I know he actually did quite a few leader and co-leader dates.

How does it sound? I am sorely tempted.

Anthony Braxton – Five Pieces 1975

The cost of heavy smoking. So sad.

👍

Farnsworth: The Big Room

2017 Soul Jazz CD

RIP I communicated with Jack a couple of times after the publication of his Twardzik tome.

Ted Rosenthal Caps His 4-Part Piano Trio Cycle With "The Good Old Days," Set for May 1 Release On TMR Music Pianist Highlights Prewar Jazz Stylings in Trios with Bassists Noriko Ueda / Martin Wind & Drummers Tim Horner / Quincy Davis, Plus Special Guest Ken Peplowski   March 6, 2026 Ted Rosenthal offers up yet another side of his rich, expansive approach to the jazz piano with the May 1 CD release of The Good Old Days (TMR Music). The capstone of Rosenthal’s monumental tetralogy Trios in 4 Acts, it finds him leading his two longtime trios in putting a contemporary twist on early jazz styles. The album also features joyful cameos on two tracks by the late, great clarinetist Ken Peplowski. Recorded in summer 2024, the Trios in 4 Acts series allowed Rosenthal to offer multiple moods, tempos, and conceptual through-lines to the listener, all filtered through his beloved piano-trio format. “I believe a good, well thought out program, often with a theme, adds so much for the listener,” the pianist notes. Each entry in the tetralogy—which also includes 2025’s High Standards, The Ted Rosenthal Songbook, and Classics Reimagined: Impromp2—also happens to provide a unique insight on Rosenthal’s own artistry. In the case of The Good Old Days, it’s his deep knowledge of the music’s history and nuances. That understanding allows Rosenthal to, for example, present his original ragtime composition “Schmatta Rag,” here done with both stride-piano panache and a nod to New Orleans blues, as well as to put his own zesty spin on Scott Joplin’s tentpole “Maple Leaf Rag.” Another original, the swinger “Back Home in Okayama,” offers the brand of breezy escapism and Tin-Pan-Alley lyricism that marked jazz in those pre-World War II days—which, as Rosenthal slyly reminds us with a quote of Dizzy Gillespie’s “Bebop” in his “Back Home in Okayama,” informs the music that’s come after. Elsewhere are lively and personal renditions of pieces by Cole Porter (“From This Moment On”), Hoagy Carmichael (“Two Sleepy People”), and Vernon Duke (“Autumn in New York”), all given renewed life and energy thanks to Rosenthal and his trio’s fresh perspectives. While Peplowski was renowned for his expertise in pre-bop repertoire, here he brings his timeless feeling and verve to two vibrant Rosenthal originals, the calypso-flavored “Sunny Side Up” and the Charleston-accented “Hot Sauce.” Importantly, The Good Old Days is neither a nostalgia fling nor a history lesson. It demonstrates Rosenthal’s full immersion in the jazz tradition, but it’s less a throwback to a bygone era than a reminder of how vital and inspiring that classic music remains in Rosenthal’s hands. Ted Rosenthal was born in 1959, in Great Neck, Long Island, New York. He first tried his hand at piano at age six, then pursued guitar and trumpet before coming back to the keys at 12 when he began lessons with journeyman pianist Tony Aless. From there, he moved on to such illustrious mentors as Lennie Tristano, Jaki Byard, and Billy Taylor before going on to earn a Bachelor’s and Master’s degrees at Manhattan School of Music. Rosenthal made his name in the wider jazz world in 1988, when he won the second annual Thelonious Monk International Jazz Competition. This led to his first recording as a leader, New Tunes, New Traditions, featuring Ron Carter and Billy Higgins. Shortly afterward, Rosenthal joined saxophone great Gerry Mulligan for his last quartet (and served as musical director of the Gerry Mulligan All-Star Tribute Band after Mulligan’s 1996 passing). In the meantime, Rosenthal was freelancing as a sideman with several jazz greats—Art Farmer, Jon Faddis, Phil Woods, and the Vanguard Jazz Orchestra, among others—and has performed with many top vocalists including Kurt Elling and Ann Hampton Callaway. He is currently on the faculties at both The Juilliard School and Manhattan School of Music. Rosenthal has also built up a fearsome body of his own work, recording more than a dozen follow-up jazz recordings after his debut, including the chart-topping Rhapsody in Gershwin, the critically acclaimed Images of Monk, and an album in the prestigious “Live at Maybeck Hall” solo piano series. The first release in his Trios in 4 Acts series, High Standards, has been on the JazzWeek radio charts for 15 consecutive weeks. He’s also done considerable work in bringing together the classical and jazz traditions, having composed a jazz opera (“Dear Erich”), two jazz piano concertos, and ballet music. He fused his classical flair with jazz on Classics Reimagined: Impromp2, the third installment of his recording series, Trios in 4 Acts, and included music from “Dear Erich” on the second, The Ted Rosenthal Songbook. Encompassing the breadth of jazz history, The Good Old Days is the ambitious tetralogy’s capstone. Upcoming performances include: 3/12-22 Jazzfest at Sea; 4/12-21 Tour of Germany; 4/24-26 Shablul Jazz Club, Tel Aviv; 5/1 Side Door, Old Lyme, CT; 5/8-9 Mezzrow, NYC (6:00 & 7:30pm); 5/22-23 Jazz Forum, Tarrytown, NY (Quartet featuring Terell Stafford; 7:00 & 9:30pm); 6/4-6 Vic’s Supper Club, Las Vegas; 7/26 Ozawa Hall, Tanglewood, Lenox, MA (100 Years of Miles and Coltrane w/ Ingrid Jensen, Jimmy Greene, Noriko Ueda, Dennis Mackrel). Spotify links to the first 3 albums in Trios in 4 Acts: High Standards The Ted Rosenthal Songbook Classics Reimagined: Impromp2 Photography: Matt Baker    Ted Rosenthal EPK  Ted Rosenthal Website  

My copy of this LP is the Atlantic Jazzlore version.

Here's some black contemporary gospel from '79 by Andre Crouch. Crouch co-arranged with Michael O'Martian on keyboards plus LA session cats David Hungate-bass and Jay Graydon-guitar. Check the ending after 3:11 https://www.youtuve.com/watch?v=9uV87ld1eI0 Sorry, but it worked for me. BN https://www.youtube.com/watch?v=9uV87ld1eI0