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Continuing my Mingus day with:

Very good album (Joe Bonner is a big plus) which AFAIK never received CD reissue. I'll go for the download in the absence of a CD reissue.

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https://craftrecordings.com/products/the-visitors-motherland-jazz-dispensary-top-shelf-180g-lp Jazz Dispensary vinyl reissue coming on May 29th. Hi-res streaming will also be available that day.

Peaky Blinders movie - Netflix

T-Mobile continues to off free MLB Network. Local blackouts still apply though.

Miles Davis “Someday My Prince Will Come” Sony cd SRCS 9105 I have a number of different digital releases of this album, all sound pretty darned good.

Larry's last updates did say something along those lines but there were lawyers involved, so maybe his wife was able to move him back permanently. If he was diagnosed officially with dementia, it would be very difficult for him to take back any sort of "control" on his own. To be honest, I'm surprised his lawyer did it that last time. I just don't get that they took away his phone. My mother was suffering from dementia near the end of her life but I was still able to call her every day on her phone and talk to her. If they had taken away her phone, I would have given her another one.

Here is an article on how to stream this year's games. It's complicated when you have a local team. If you don't, the cost is $150 for the entire year, or $30 per month. https://thestreamable.com/cheapest-way-to-watch-every-mlb-team-in-2026

Guitarist Bobby Broom Celebrates Jazz Titan (And Mentor) Sonny Rollins With "Notes of Thanks," Set for May 1 Release by Steele Records Album Features Nine Compositions by the Saxophone Icon, As Interpreted by Broom's Longtime Trio With Bassist Dennis Carroll & Drummer Kobie Watkins CD Release Show: Jazz Showcase, Chicago, May 14-17   March 23, 2026 Guitarist Bobby Broom pays tribute honoring a saxophone colossus with the May 1 release of Notes of Thanks on Steele Records. The album is an exploration of the compositions of the great Sonny Rollins, in whose bands Broom recorded and toured for a combined 11 years. The guitarist is joined on the adventure by his own longtime collaborators, bassist Dennis Carroll and drummer (and fellow Rollins alum) Kobie Watkins. As it would be for any jazz musician, working with Rollins was the gig of a lifetime for young Broom. He was still a junior at New York’s High School of Music and Art when he first played with the saxophonist at Carnegie Hall, then at 20 went on the road with Rollins for six years. Though he retired in 2014, the jazz elder is still with us and well into his nineties, observing the scene as he rests on his much-deserved laurels. “I felt like now was the right time,” Broom says. “I wanted to say thank you to Sonny while he is here.” It’s a rich and remarkable thank you. Broom, Carroll, and Watkins offer a trio of Rollins’s best-known compositions (“Doxy,” “Valse Hot,” and “Pent-Up House”) along with a handful of eclectic, lesser-known tunes. These include “Alfie’s Theme”—not the Burt Bacharach standard, but the bluesy piece Rollins wrote for the 1966 film, here rendered in a tough, stripped-down performance; “Kim,” a fairly obscure piece from the 1980s, which features Broom in one of his most cogent and acrobatic solos; and “Paul’s Pal,” a chipper, calypso-seasoned tune from early in Rollins’s reign over the tenor kingdom. (After all, what Rollins tribute would be complete without a calypso?) Though all of the tunes feature extended solos by the guitarist, Broom’s collaborators are not to be underrated. Carroll and Watkins do extraordinary work. The bassist contributes the album’s only original, the thoughtful ballad “Me Time,” and the drummer plays with remarkable subtlety, though offers tantalizing hints of his formidable chops while trading fours with Broom on “Strode Road” and eights on “Pent-Up House.” Indeed, Notes of Thanks is a studio reunion of sorts for Broom’s working trio, who haven’t recorded a full album as a standalone unit since 2009’s Bobby Broom Plays for Monk. Deeply rewarding as it is for the players and their fans, the record is also a clever reminder that its subject, Sonny Rollins, was in his own right a pioneer of the modern jazz trio format. It’s the kind of fine detail that makes Notes of Thanks an extraordinary homage to and by extraordinary musicians. Bobby Broom was born January 18, 1961, in New York City’s Harlem. At ten years old, he heard one of his father’s records—by organist Charles Earland—touching off his lifelong love affair with jazz. By the time he was sixteen, Broom was attending New York’s prestigious High School of Music and Art and gigging with pianist Al Haig; a year later, Sonny Rollins hired him to play at Carnegie Hall and invited him on tour. Broom elected to finish high school, went on to attend Berklee College of Music, then, in 1981, accepted Rollins’s job offer. By that time, Broom had also signed with GRP Records and recorded 1981’s Clean Sweep, which was a crossover jazz success. But rather than settle into a comfortable career in the emerging genre of “smooth jazz,” Broom stayed on the road with Rollins until 1987, then settled into the rich Chicago jazz scene and continued his international work as a sideman for other jazz luminaries such as Earland, Kenny Burrell and Miles Davis. In the 1990s Broom recorded two quartet records, but by 2000 had decided to make a guitar-bass-drums trio his primary outlet. He solidified a lineup with bassist Dennis Carroll and drummer Kobie Watkins with 2006’s Song and Dance, followed by 2008’s The Way I Play and 2009’s Bobby Broom Plays for Monk. (The three came together again for 2011’s Upper West Side Story, although Chicago drummer Makaya McCraven sat in for Watkins on three tracks.) His highly successful organ ensemble the Deep Blue Organ Trio (1999-2014) recorded four albums and was updated with his current organ group the Organi-Sation, recording 2024’s Jamalot and 2018’s Soul Fingers. Other recent Broom albums include the augmenting of the trio with pianist Justin Dillard on 2022’s Keyed Up and 2025’s More Amor – A Tribute to Wes Montgomery with the Chicago Jazz Orchestra. Broom returns to his unadulterated guitar-trio for Notes of Thanks, in homage to one of the most important figures not only in jazz history, but also in Broom’s own life. The Bobby Broom Trio will appear at the Jazz Showcase, Chicago, 5/14-17. Broom will also appear in the International Jazz Day All-Star Global Concert, taking place on 4/30 at the Chicago Lyric Opera House.  >>Why Another Tribute? Bobby Broom explains. Photography: Sandy Morris    Bobby Broom EPK  Bobby Broom Website  

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Re- "Ben Webster meets Don Byas" (SABA): You all sure made it hard for me to listen to this without any preconceived notions based on what's been written on that session. So I listened a bit closer now, and as I'm no musician nor a musicologist and not out to dissect such recordings academically, my bottom line is: "No desert island disc but no train wreck either." To my ears, Don Byas indeed sounds more assertive whereas Ben Webster is more in what has been described as his "coasting" mood. As for their interplay, we know why 2 of the 6 tracks are vehicles for one tenor only and elsewhere their cooperation sounds somewhat loose and disjointed, but not excessively so, at least to me and given the known circumstances. The way they alternate with one being up front and the other in the back has its moments too. Besides, weren't there many late 50s or 60s jazz recordings where anything loose or disorganized or everyone going off into whatever direction was just as likely to be construed by reviewers or listeners as "advanced" or similar, in a sort of "anything goes" state of mind? I'm not sure how regularly I'll targetedly revisit this LP; but it is a notable document of a phase in the careers of both of these legends. Warts'n'all.

Grateful Dead “Dave’s Picks Vol. 16” 3 disc set, disc 3 From March 28, 1973, Springfield MA. Interesting sandwich here: [i]Weather Report Suite Prelude>Dark Star>Eyes of the World>Playing in the Band[/i]

Still more Mingus:

Fassbinder's Veronika Voss - starts out more or less Sunset Blvd. but then add morphine addicts. I think it's fair to say it ends as a neo-noir. I'm struggling to think if there is a single Fassbinder film that has a happy ending. Ali: Fear Eats the Soul has a somewhat ambiguous ending that could be taken as positive. And that's as close as he gets to an uplifting film, I think...

I don't suppose we'll ever see a Betty Carter Mosaic, but that would be very cool. I was a teenager when I bought my first Carter album. It was the vinyl reissue with a tweaked cover: The original cover was better: I got to see/hear Carter just once, in 1990. Sarah Vaughan had just died, and Carter dedicated the show to her.

Lunchtime walk towards FNAC... and quasi-random hunt: -Duke Ellington - Copenhagen 1958 (Storyville) -Coleman Hawkins / Sweets Edison / Benny Carter - Session at Midnight plus Session at Riverside (Essential Jazz Classics) -Kenny Dorham - Blue Bossa in the Brox. Live from the Blue Morocco (Resonance) -Albert Ayler Trio - Prophecy Live. First Visit (ezz-thetics) -Wes Montgomery / Wynton Kelly Trio - Smokin' in Seattle. Live at the Penthouse (Resonance) -Charlie Parker - Live at Café Society (Bird's Nest) -Hot House. Complete Jazz at Massey Hall Recordings (Craft) -Ben Webster - Live in Hilversum 1970 (Domino)

A valuable Webster release, mentioned earlier on in this thread. I haven't spun it for a while and need to change that.

A little help https://en.wikipedia.org/wiki/Dave_Douglas_(trumpeter) - young man 😅. You are the same age as my twin sons!

More Mingus:

A salient point, I think.