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Glad to hear that. I enjoyed Iverson's playing with the Bad Plus. But I think his solo work -- and sideman gigs with Tootie and Jabali -- are even better.

Reading this thread caused me to check out my 6 volumes of this CD. The tune referred to is not on any of the 6 volumes. Just listened to Vol.1. It has John Lewis, Gene Ramey and Jo Jones on 12 of the 14 tracks. They were all broadcasts from 1951. Audio quality is very good. The first 2 tracks are from the Royal Roost in 1948 & 1949.

Thanks for the feedback, Jim. Guess I need to add it to my list!

L I've purchased this music (quite) a few times since the late '70's-This is hands down my favorite edition.

Certainly looks like the guy was cheating. I've never seen a video analysis like this. Pretty damning evidence. OTOH, Gaylord Perry would be proud. ****************** Regarding poor umpiring and the missed balls and strikes: I think it's inevitable that robots will eventually be making those calls. It's a shame to take the people out of the equation, but this is something that could easily be solved with technology. The desire for greater accuracy will drive the change, just like the desire for greater accuracy led to video replays. I haven't really decided whether it's a good thing or not. But I think it's gonna happen.

FWIW, I saw / heard a solo concert that Iverson did in Albuquerque recently & it was excellent. His interaction with the audience was compelling.

Next up: Marc Johnson - Bass Desires (ECM, 1986) One of Ethan Iverson's substack posts just showed up in my inbox. The gist of the post is a long interview with Peter Erskine about the making of Second Sight, the second Bass Desires album -- an album that isn't in my collection, so I'm playing the first one instead -- and Gary Peacock's Guamba, which was made immediately after Second Sight. FASCINATING stuff. And there's a bunch of excellent photos too. Don't think I've ever seen the inside of Rainbow Studios in Oslo before. An aside: I know that Iverson comes in for a lot of stick 'round these parts. Frankly, I don't get it. At all. I don't always agree with the guy -- nor should I (or should anyone else, for that matter!) -- but it's clear that he LOVES the music. From my perspective, that's the most important thing. . . . Plus, he uses his insider's status to get to get interviews that are unlike any others. And the dude can write. He's putting himself out there, sharing personal responses to the music. I wish MORE musicians had the (writing) chops, the inclination, and the cojones to do it.

seems like Zev can only have it pulled in the US. If/when I get the box I will keep the Dragon LP just to spite him. Ha. I am not really a fan of Zev's antics/vibe (jazz detective gives me the LOLs) though the labels he helms have put out some interesting material. He could be doing more in terms of licensing stuff out that he has access to but doesn't want to put out himself.

'Eastern Shores" by Thelonious Martin. @leftright

I understand that (used) vintage cookbooks are popular these days!

So here we are, a year later and I never did receive the CD I pre-ordered & paid for. Jim, you're a great keyboard player but you're not a great businessman.

Arrived. Excellent!!

👍

Albert Stinson is a cult figure these days!

Now on my turntable: Teresa Berganza, Narciso Yepes - Canciones Españolas (DG, 1975) works from Medieval & Renaissance Spain Time-standing-still music.

I sympathize fully with the observation that Discogs is not always a friendly or even "reasonable" place. And I would expect that the owners would like to make a profit, and that any usefulness for music lovers and collectors will sort of come as a side effect of that. But at the same time I would like to acknowledge the fact that the place would be less useful to me without all of those people obsessively adding every tiny matrix number variation or misplaced comma on a label. I expect some of them to be perhaps less interested in the music, but more in the "archeological" aspects of record collecting or in the database perspective of Discogs. I want to listen to music as well, and would not have (or want to spend) time to make 100.000 edits or thousands of additions. For this reason, the types of Discogs users mentioned above will have a greater impact on much of the discussion around and actual addition of content than the casual - or even many a dedicated - music fan. However, without them, some of the facts and details which are interesting and of value to me would be missing from Discogs.

Received on release day and after a couple of spins I quite agree.

Yes, Albert Stinson. And how about Eugene Wright. The least talked about of the Brubeck Quartet. . . but a real anchor in every way a bassist should be. Perhaps a little bit outside the parameters. . . but . . . Michael Henderson.

This morning: Last night: Two Ducal trios.

How about Albert Stinson? IIRC, I first heard Stinson on Bobby Hutcherson's Oblique -- but he also made albums with Chico Hamilton, Charles Lloyd, John Handy, and others. If he hadn't died in 1969 (only 24 years old), I think he would have become a very well-known bassist. Good call. Those records are terrific -- and Di Geronimo sounds great on them.

On the underrated front, I have always enjoyed Ben Tucker's playing on many "soul-adjacent" records. He always had such a booming sound and could play with the rhythm just enough to make it interesting while always staying in the pocket. In a similar vein to Tucker, I also really enjoy Eldee Young's contributions to the Ramsey Lewis Trio. I dare say he might be my favourite part!

Actually, Chick's on New Mood Indigo -- not Happy Reunion. Understandable mistake. Both LPs appeared on Bob Thiele's Doctor Jazz with fairly generic covers. For sure!

Judging from reactions on the Rare Jazz Photos group on Facebook, you'd think Leonard Gaskin isn't very well known at all.