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There is a discussion about this on a private mailing list I am on. The Dragon release was authorized by Sonny and everyone got paid. There is paperwork. Zevvers had it pulled from Spotify.

Thanks for the report. Wish I'd been there.

Kash Killion .... stumbled over him via Anthony Ortega "Afternoon In Paris" (hatOLOGY) .... played recurringly with Sun Ra Orchestra ....

Excellent photography .... btw no risk no fun 😇👹 ....

I haven't heard anything of Mapp or Smith, however I quite enjoy Farmer's work in Mal Waldron's trio. His passing was indeed much too soon. There is an interview with Art in which he discusses his brothers untimely passing and gives some insight on how it affected him and his view of life and death, quite an interesting and emotional read. I've really been getting into Cyrille by way of Walt Dickerson so I am excited to give these records a listen. In an interview Jackie McLean stated that Phipps left the scene completely to follow his true passion of photography. He also said that music was not Phipps passion and that he did it to make some bread. If that happens to be true, I can't find any evident of that in his playing. He always sounded great in his few recordings. I know Rowser from one of my favourite Hank and Dorham sessions Curtain Call. I cant say that his playing on that album struck me in any way but I'm sure he contributes his fair share to a favourite of mine. Will give a more focused listen to him for sure.

Excellent 👌👍 ....

Not really obscure I believe .... numerous credits and recurringly drafted by Ray Bryant and Les McCann .... excellent bass player though ....

Great !

Oh I love it ! Those classic free jazz LPs were the thing that was around when I was a kid and became interested in that music. All those great artists, and this is one of the most beautiful examples. I love the sound of Jimmy Lyons, he is one of my favourite sounds on alto ! I think I have that, but with another cover with George Coleman on it. The only thing is that it has to much treble and you hear only the cymbals of the drum set and not very much more traps work. I think it has or had two long tracks, one might have been "On the Trail" which was quite en vogue at that time as a tune that can be played with more modal feeling...

😍😍😍 ....

Somewhere I read that Gary Mapp was a policeman. About Addison Farmer: Once I heard a bassist "Julius Farmer" who was Art´s nephew. He even looked a bit like Art. Maybe this Julius Farmer was the son of Addison ? I heard Julius only once at a Jazzfestival, but he played with Larry Coryell Trio as well as with Alphonse Mouzon electric group, so he did 2 features at one festival, which happens rarely. He was also the bassist of the after hour jam session. Arthur Phipps also a good choice: I think he was an insider´s musician in the Brooklyn jazz community. - How about John Simmons who played with Monk as well as with Tadd Dameron ? It seems that later he disappeared completly. - Who was that misterious Ebenezer Paul ? He played on those 1941 Minton sessions but otherwise I never heard about him. - Jimmy Rowser ? Isn´t he on one of the Coltrane LP´s on Prestige. He sounds interesting, because he doesn´t have that long tone, he has that boppish short and more percussive tone, it sounds very fine on a fast version of "Woody´n You".

Nick Di Geronimo ..... three appearances with Andrew Cyrille between 1978 (Black Saint) and 1983 (Soul Note) .... what a fantastic bass player and no traces to be found at all ....

Gary Mapp (played with Monk) Putter Smith (not really obscure, 007 movie fame) Addison Farmer (not really obscure, Art's twin bro, died too soon)

I'll start. Carl Brown Arthur Phipps

+ Chick Corea! That is a seriously great record!

In the last decade (or so) I have only purchased books by or about friends or people I know.

More Ellington: Duke Ellington - Unknown Session (Columbia, 1979) Septet recordings from 1960.

First weekend of New Orleans Jazz and Heritage Festival First Thursday: Starting off with Mokoomba from Zimbabwe in the intimate Cultural Pavilion. Great band and a thrill to hear them in good sound up close. Next, Louis Ford and His New Orleans Flairs in Economy Hall. The very fine New Orleans clarinet player and his trumpet playing compatriot, Jamil Sharif, always sound good. On to the Jazz Tent for Lakecia Benjamin making her festival debut. She is very intense and exuberant. A substantial part of the set consisted of Coltrane associated tunes, passionately performed on alto sax. She has a gospel edge to her sound, as well. My reaction was favorable. Closing out the day with the Kenny Barron Trio, with Johnathan Blake on drums. It took awhile to get the sound right, as the first part of the set was marred by sound bleed from the Festival Stage. This eventually diminished, and by the time he performed a brilliant version of Sunshower, it all fell into place for the last half of the set. First Friday: Starting out the day at the Fais Do Do stage, which is normally reserved for zydeco bands, but for this set featured Leyla McCallas and her excellent band. It was just as good as her set at Big Ears. Back to Economy Hall for Doreen's Jazz New Orleans. The crowd was huge, spilling out of the tent. I was a little surprised as she normally plays on the street, that is Royal Street, in the French Quarter. Apparently she was just featured on 60 Minutes. One could say about any one of her clarinet solos, "that was mean," to quote Roland Kirk. She makes just about any song sound good, in this case closing with When the Saints Go Marching In, and I'm not ashamed to say I really enjoyed it. Next, to the Blues Tent, for the exciting Mr. Sipp. He started out in music as a gospel singer, and so sings well; he's pretty good on guitar as well. Next up, my first time to see Oumou Sangare from Mali, at the Congo Square stage. Surprisingly (based on past experiences with this stage), this time they got the sound right. A very exciting set of music by this fantastic singer and her wonderful band. Closing out the day back at Economy Hall for the new to me, Jason Danti and the Krewe de Bechet. This was the perfect set to follow the prior two, featuring relaxed and lyrical versions of Sidney Bechet compositions. This set was quite pleasing to the ear. First Saturday: The Festival this year is featuring Columbian bands in the Cultural Pavilion. Starting out with Gaita Loop, a one man band from Columbia who plays the gaita, a flute-like instrument, using looping technology. Next, Victor Atkins Quintet in the Jazz Tent. A long-time educator and pianist in New Orleans, apparently getting his first leader set at the festival. A solid straight ahead set, also featuring Ashlin Parker on trumpet and tenor saxophonist Derek Douget. Followed by Jason Marsalis Quartet. With Jason on vibes, playing Lionel Hampton associated songs the first half of the set, then Ellis Marsalis compositions. After that, a band led by Cuban pianist Victor Campbell appears. He is an amazing pianist. Very exciting set. Then, the Charles Lloyd Quartet plays a wondrous set. One highlight, as at the Big Ears Festival, was the gorgeous Booker's Garden. This time, some classic material also surfaced, as he ended with Forest Flower and Sombrero Sam. Mr. Lloyd appeared very happy with his band throughout the set--Gerald Clayton, Larry Grenadier and Marcus Gilmore. Finally, Nicholas Payton and the Nth Power. This was a mis-fire. The Nth Power is a pedestrian fusion band. There were a couple of songs that worked (Fela) and some nice trumpet playing, but not a successful set to my ears. Night Show: At the 3 Kays, Mahmoud Chouki appears with the Noah Young Band, featuring Ricardo Pascal on saxophones. While not the nominal leader, Mahmoud Chouki dominated the proceedings with his amazing acoustic guitar and oud playing, and his compositions. An absolutely great set. The saxophonist is also impressive. First Sunday: For some reason, after three wonderful days, things were off today (or I was off). I wasn't really enjoying the bands (Yusa, followed by a jam session for the Louis Armstrong Camp, with Donald Harrison, Steve Turre and others), Trumpet Mafia and Toronzo Cannon), even ones I previously enjoyed) until the final set of the day with Joy Clark, who is quite uplifting. She definitely restored my equilibrium, which carried over to the wild Nicholas Payton show at the 3 Keys that evening, with Nicholas Payton on bass, keyboards, and trumpet, Sasha Masakowski on looping machines and vocals, and Cliff Hines on guitar and a mysterious looking black box with a whole lot of wires in it. Unlike the prior day's Nicholas Payton set, this one was very interesting and compelling. Ninety minutes quickly passed and my first weekend adventure ended.

It's Duke Ellington's Birthday, so . . . Duke Ellington - Happy Reunion (Doctor Jazz, 1985) Selections from EKE's "stockpile," recorded in Chicago in 1957 & 1958 Ellington (p), Jimmy Woode (b), Sam Woodyard (d) with: - On tracks A1 to A4: Jimmy Hamilton (cl), Johnny Hodges (as), Clark Terry (tr), and John Sanders (v tb) - On tracks A5 to B4: Paul Gonsalves (ts)

I had completely missed that he had passed away roughly a year ago.

Why the negativism? All inputs to this thread should be invited instead of applying your interpretation. If nothing else, it makes the board more welcoming. Not worth my effort commenting further. 🙄

I used to buy lots of new books. But I've downsized, and hardcovers pile up on shelves and are difficult to get rid of. Nowadays my purchases are mainly used books or Kindle, unless there's something relatively exotic I find compelling. I can borrow highly publicized books or works by famous authors pretty easily through interlibrary loan. But it depends on one's field of interest. A poetry buff will likely buy many books that sell 100 copies or less, published by obscure or private presses. Ditto amateur historians who specialize in their local regions.

Hadn't listened to Ra in a while, so 4 discs from Art Yard in a Box: Sleeping Beauty (this is one of my favorite Ra albums), Disco 3000, The Antique Blacks, On Jupiter

I don't buy comic books any more. Maybe that's what the meant.

The initial post was clearly about new books: I used to buy a lot of new hardcover books until about 15 years ago. I had favorite authors that I would buy their latest on the release day and I would often peruse the "New Arrivals" section at my local Barnes & Noble for new authors to check out. Then I was given a Kindle for Christmas. I didn't use it much in the beginning but it has become my preferred way to read books. Even now, I don't find myself buying new books much. I sort through the digital offerings at the Maine digital library as well as Amazon's free Prime books. Nothings beats free. My local library offers e-books to "check out" too but their wait lists are ridiculous.