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And the Lord said, let there be FLAYVA. And it was so. Talk about everybody having a good day...and Ben Dixon framing everything! Don't think that this was ever a 45, but if it was, I want it, and a jukebox to put it in. And the scratchier, the better.

I think I have one Green album from about 1969 from the style of clothes and the hairdo on the cover photo, and it sounds like some very early jazz rock. But once again: I´m sure he was not mentioned here in Viena in jazz rock fan circles. We all heard and studied what was around, but as for electric jazz our men were Miles, Herbie, RTF, Tony´s Lifetime and so on. Our listening habits were splitted between late Free Jazz or Post Coltrane and early electric/funk jazz. So I´m sure that a lot of those attempts of BN in the early 70´s to record a lot of electric stuff with all those many instruments, like they also did with Lou Donaldson, was not noticed here. It did not sell here, while all the albums of Miles from Bitches Brew on, and all the Headhunters and RTF stuff and Lifetime stuff sold extremly well.......

Thanks for the reminder, almost forgot to listen to this today...

I'm now listening to Brahms' Symphony No. 3, as performed by István Kertész & the Vienna PO: Earlier, it was Brahms' Symphony No. 2 and his Serenade No. 2, again performed by Kertész & the VPO:

Schism on Monday night in Queens: Simon Hanes & Ana Abondolo on electric basses Jon Starks & Ches Smith on drums incendiary last night at Solar Myth in Philadelphia Columbia Icefield: Nate Wooley, Ava Mendoza, Susan Alcorn & Ryan Sawyer as great a 47-49 minutes as one could imagine. Wooley utilized Ron Miles compositional material to make a suite of music that is beyond my words. Ava has the best tone and is such a bright light & Susan is simply a genius on pedal steel. Wooley gives the players space but when he improvises, just stunning as always

Next up: Villa-Lobos: Instrumental & Orchestral Works Disc 2 - Fantasia for Soprano Saxophone & Chamber Orchestra / John Harle (ss), Marriner, ASMF - Concerto for Guitar & Small Orchestra / Angel Romero (g), López-Cobos, London PO - A Próle do Bébé No. 1 and other works for solo piano / Cristina Ortiz (p)

Oska Moska - Lippa Tippa!!!

I have the Bird set, as far as I know most if not all of it has been available in other issues. Peter Losin’s website has a complete listing of the material along with other info (limited to 300 sets etc). I bought mine from Cadence, it arrived with damage to the box but not the records, from what Cadence told me their sets were all damaged. i also had the Bud Powell set which had a more lavish production. I eventually gave to a friend had given me lots of unissued stuff through the years. I ended up with mostly corresponding cds. http://www.plosin.com/MilesAhead/BirdDisco.aspx?id=ParkerBoxLP

Liszt - Liebstraum: Favorite Piano Works / Jorge Bolet (Decca) CD 2 Agreed. The way she handles Brahms & Schumann ain't too shabby either.

Maybe somebody(s) got dubs of some of the IAI videos)? Their existence fascinated me as much as their presumed loss vexes me.

Yes I did. A dud if ever there was one.

Save your ears: turns out that there was a guy named Gil Evans in residence at the casino 1947-50. Did you obtain it thinking it might be our Gil?

Hey maybe Bley did more recordings with Bird than we know about. (Though I doubt it.)

Presumably the finding aid is only local and not integrated with the online catalog. It's possible that physical processing is also largely incomplete.

Exactly. There's a reason that Booker Ervin exists. I don't want Booker to sound like Joe Henderson - they're different players that operate effectively in different contexts. It's worth mentioning that a ton of our knowledge about Grant is based on his recordings. Firsthand accounts are sparse. Grant's career mostly coincides with an era when amplifiers were not designed to compete with the (often) punishing volume levels of modern jazz. This dude was playing with organs in loud clubs. It may not be immediately evident if you don't have firsthand, experiential knowledge of playing guitar on stage, but you can't simply turn an amplifier up. There are certain gestures and registers that will invariably project better in a loud room. I can more or less guarantee that Grant's style played better in live environments than the approach favored by many of his contemporaries. He's comparable in this way to someone like Buddy Guy, who often sounds pinched and thin on records but who has probably destroyed every single room he ever played. For reference: there's all that talk about how Wes played with the Coltrane band. I can absolutely understand why this might be the case. Wes's harmonic vocabulary was surpassing, but he also figured out how how to solo with octaves in an era when people hadn't yet developed a facility with that technique. I can't imagine too many other players who were able to play over Elvin in an era before good live sound and freely available gain/distortion options.

More info from the listing just below. I can't yet locate the detailed finding aid online; that might be on site only. if anyone is in Ottawa... Bley's daughter died a few years ago. General note: Dub copies of Bley recordings are not described in this series. While many dubs are simply direct copies of described recordings, the boxes for some (particularly audio reels) often contain additional information on the recording, including song titles (and changes thereto), composer credits, editing and mixing decisions, and commentaries on the performances and on technical aspects of the recording. The existence of dubs with significant textual information is noted in the relevant descriptions. Arrangement note: Hide detail The series contains the following sub-series: MUS 297/E1 Live Recordings of Paul Bley and Related Records; MUS 297/E2 Studio Recordings of Paul Bley and Related Records; MUS 297/E3 Combined Studio and Live Recordings of Paul Bley and Related Records; MUS 297/E4 Other Records Concerning Paul Bley Recordings. In cases where the place of recording is not known, but there are no indications of a live audience, the recording has been described in MUS 297/E2. MUS 297/E3 contains: individual recordings that include both live and studio performances; and recordings, which while individually are either live or studio, are related to larger projects that combined both studio and live recordings. Related records found with a recording are described with that recording, and other related records are described in sub-series MUS 297/E4. The recordings in each sub-series are arranged according to the date of Bley's performance, which is generally (but not always) the same as the date of creation., Sound recordings pertaining to Sun Ra's St Louis Blues: Solo Piano, IAI 37.38.58, are described as part of MUS 297/E1 because of their integral connection with the unmixed masters and unmixed copies of the Bley-Sun Ra performances at Axis-in-Soho, July 1977, which are also described in MUS 297/E1. The Rights info isn't the greatest. if you click on the Access tab, you can see what there is. Everything that is a sound recording is either Restricted, or Open for consultation but no copying. Sound recordings [Consultation18 Restricted] File MUS 297/E1,97 is subject to access restrictions. Sound recording [T10W1] 109--146 [Consultation 95 Open, no copying] One would have to ask them for more details,but the material would likely be considered under copyright and heirs would have to be consulted. Bley-Sun Ra performances at Axis-in-Soho, July 1977??? the overall listing says that there is material from roughly 1953 to 2000, but details don't appear online.

And at the Village Vanguard May 21-26.

Oof. There has to be content from the '60s in there, yes? Some iteration of the Barrage band?

Give my regards to Front Row Amy!

I have a copy of that record. I'll see if I can make an mp3 of it in the weekend. The label is signed Gil Evans. Listening to it is suffering for science.

Brewers hanging in there.

Terry Allen - Juarez

Thank god for archives and archivists.

Wow, awesome disclosure / discovery. I have no idea about the legal aspects of mining the audio reels. Starting with: Who is (are) the legal owner(s)? I'd expect Bley's heirs owned them for some time. But maybe Archives Canada owns them now? Mystery to me, but I'm sure the details can be worked out.