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Or just do an Andy Kirk set.

The Hampton/Hines record is dandy! But those guy defaulted to dandy. The Bull Doggett record was fun as well.

Agree completely! Might be an interesting challenge to decide which Andy Kirk recordings to include, but I'd sure like to hear that selection!

They have shown up on a number of budget labels under a number of different names. I've heard many of them, have held onto a few, they are pretty routine affairs for the names involved, nothing revelatory or near to the standards of the artists' best or most meaningful work. But nothing wrong with them, either. Hampton actually does play on many of them.

Neither one. I'll have to explore those, and I can certainly understand having a bit of difficulty with Lanthimos films. I liked "Poor Things" and "Bugonia," "The Lobster" and "Kinds of Kindness" less, but like him or not, he certainly makes interesting and original movies.

Well, a major reason I'm interested is that I have not heard most of them. It may indeed be that they're not all that impressive, though, given the people who recorded for the label, it sure seems to me like there must be some good stuff there. As for "Lionel Hampton presents," that's just marketing. Hampton was--or maybe imagined he was-- a very big name, and while Mulligan certainly was a giant of the music, if one was trying to appeal to a more general public, it's possible that putting Hampton's name on the record might--I repeat, *might*--sell a few more records. I'd just like to hear them all in Mosaic order!

The fade Beta released some demo's and it sounds promising. https://www.youtube.com/watch?v=NjxuL3y2c6w

I read that as well. I guess it can sound like a Monk/Clark mix (though I couldn't spontaneously identify it as a Monk nor a Clark tune 🤷‍♂️). Either way, one of my favorite Blue Notes. Great band! Now sampling:

Albert Ayler “Summertime to Spiritual Unity” ezz-thetics cd

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Yes, thanks for explaining that. I wondered about those multiple options that come up occasionally.

I stand corrected! I had this confused for the Train Wreck session, definitely do not have a copy.

That'll be a fun trip!

This interesting information is from Robin Kelley's book on Thelonious Monk. "Thelonious even kept his music at Nica's, usually in a briefcase next to the piano. Fire was his main concern; he never worried about theft. That is, until he heard Jackie McLean's LP, "A Fickle Sonance", released later in the year. One of the cuts on the album, "Five Will Get You Ten", was credited to Sonny Clark, the pianist on the date. The song was actually one of Monk's compositions, "Two Timer". He had written it at Nica's but had not recorded it. Monk may have shared the lead sheet with Clark;l he may have even played it for him. But Clark was a frequent visitor to the "Cat House", and he even lived there off and on. His herion habit was out of control, and like most other junkies he resorted to stealing for a fix. Neither McLean nor any of the other sidemen suspected that the song had been stolen. To my knowledge, Thelonious never confronted Clark about it nor mentioned it to anyone. He just let it go."

Op.18/5 and Op.18/6

Are there labels in particular where you have seen that happen other than Blue Note. I agree any lack of information on a recording is maddening. However, that happened all the time in the 20th Century. Columbia was the most egregious but hardly the only one. Concord was not great. But what I never understood was including minimal to no information about recording dates and personnel but a massive explanation of what microphones were used.

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OK, this is a pet peeve of mine. There is a strong trend toward providing minimal or no information about recording dates on new jazz recordings. That stands in sharp contrast with past practices of the 20th century when exact recording dates were commonly documented. I understand that there may be good reasons for this. Some have to do with modern technology that now longer necessarily requires having an entire band in a recording studio at the same time to make a record, and also makes professional-quality recording cheap enough so that released music can be cherry picked from a huge number of recordings from multiple dates. It likely also has to do with the fact that artists are now often able to control their own releases and labels, and may not feel as anal as record executives about documenting precise recording dates. But even the large labels like Blue Note now seem to be following suit in not showing concern about providing precise discographical information for new recordings. What do people here think about this? Personally, it bothers me quite a bit. When I engage in assessing or understanding the career work of a jazz artist, I like very much to be able to understand the chronological order of recordings. For example, it can be insightful to know if a particular concert performance occurred before or after a certain studio recording.

I am unsure if he's still alive, but the alto saxophonist Byron Allen was born on this day in 1939.

Understand what you mean. Maybe more in your wheel house. Listening to now:

I don't know, I'm not hunting down an average Christmas recording. You want to buy an average Christmas recording? Pass on the reissue.

I have this one, nice with Milt Jackson, but in general I listen more to the Mobley around the time of „Soul Station”. I find, the early BN albums are very very similar. Same with Morgan. I think this one is the one with the Benny Golson Arrangements, its nice. Is that the one with a cute waltz on it? I kept only one of the 1950´s Morgan, I think it is called "The Cooker". In rest I have more from the 60´s I think, only that I don´t really listen much to the "Sidewinder", prefer other albums like "Search of a New Land", that´s what I love most.