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  1. Not exactly what you're asking for but perhaps of some interest... In 1959 Rivers was introduced to a precocious 13-year-old student of Alan Dawson by the name of Tony Williams, who later recounted in a DownBeat interview that “Leroy Fallana, a piano player, asked me to join his band. I was about 14 or 15. He hired me, Sam Rivers, and a bass player named Jimmy Towles.” The quartet played at the brief first incarnation of Club 47 (now Club Passim), where Dawson had been performing with a trio. This led Rivers to a reformulated quartet with Galper, Williams, and bassist Henry Grimes. Rivers and Williams were members of the Boston Improvisational Ensemble, which the latter described in a DownBeat interview as “doing things in the afternoons where they had cards and numbers and you’re playing to time, watches, and big clocks; playing behind poetry, all kinds of stuff.” The pair also played together in a quintet led by trombonist Gene DiStasio that included pianist Mike Nock. In the interview cited above, Galper also stated that “Under Sam’s tutelage, we were the first to play free on standard tunes,” and in a 2007 interview at WKCR, he recounted that “‘time, no changes’ is something Rivers had worked out in the 50′s — calling out, for example, ‘E Anything’ on the bandstand meant a tonal center of E; this would be the only basis for improvisation.” Keep in mind that all this was going on here in Boston at roughly the same time that Eric Dolphy, Ornette Coleman, and Cecil Taylor were breaking similar ground in New York. Here's the original link. I haven't checked to see if it is still live.
  2. Mingus live after "Changes 1/2" (1976,77)

    Dreck is in the ear of the behearer. I was at that concert as well. I thought the orchestral "juxtaposition" with Ornette's quartet worked out well enough, though I wouldn't have had as much to say as that review. but Dewey Redman played his ass off. I just about jumped out of my seat. The most interesting thing I remember about the Mingus set was the pianist, John Foster. That's the only time I ever saw or heard him. Didn't know his name until I looked it up years later in various Mingus discographies. I remember that Foster's glasses seem damaged and he had repaired one of the side pieces with a band-aid or some light colored tape. I remember too that he seemed a bit disheveled. But his piano playing was outstanding. At least as strong as anything that Don Pullen did with the band. At a distance of almost half a century I would venture that it was the best piano playing I had heard with Mingus since Jaki Byard (though I never saw Byard live, with or without Mingus). But the really interesting thing is that, at a certain point, Foster got up from the piano and paced back and forth across the stage in a manner reminiscent of what Mingus might do when he was excited or agitated. Foster seemed agitated. Then Mingus got up and started pacing too almost as if he felt obliged to do that. So at one point they were both pacing on the stage. Nothing happened from there but Foster was the most interesting figure on the stage...musically and in his stage persona...other than Mingus.
  3. Albert Ayler

    When you saw it, do you remember if it had English subtitles or were there Scandinavian subtitles (I'm not clear on what specific language it is) per the release in this thread? I was glad to have access to it and I did not find the subtitles to be a distraction but I admit to being at a loss with the non-English dialogue, particularly from Ayler's European girlfriend. I got the impression that her commentary might have shed some light that was not coming from the other sources. Overall I was glad to see the film and I am glad that it was made but I think the Lee Morgan documentary by the same director is a much better film.
  4. Archie Shepp

    I don't believe it was. Most of what is on that site has not been released and is not even on the "circuit". But the discographical details vs. this commercial release are clear.
  5. Ornette

    Many thanks for this. It's at least a start. Which was what I was thinking when I started this thread. David Wild did a good job through the 70's but it seems no one has tackled it on that level since. KH1958's description of the Caravan of Dreams and the material that might derive just from there (and then) suggest that there are whole worlds of Ornette that have yet to be properly documented.
  6. The Jazz Icons Series 2 box has all three of the videos from the Spring 1964 tour: Oslo, April 12 Stockholm, April 13 (rehearsal) Leige, April 19 The Oslo set is on a Shanachie VHS (ha!) commercial issue. I mention it because it includes a little more of the introductory stage chatter than the JI dvd. Mingus jokingly threatens to sue the house because he slipped slightly as he entered the stage area. The JI single dvd from the series...Charles Minugs / Live In '64...can be had by itself. I just saw three copies on Discogs.
  7. Archie Shepp

    "Recorded live on March, 23rd 1974, Grand Auditorium Studio 104 - Maison de la Radio. Excerpts from the full performance." Indeed. If you check the Archie Shepp Unissued Live Recordings site for 1974 you will see ten tracks for the March 23, 1974 concert totaling just under 2 1/2 hours. The new issue contains three tracks and the issued version of "Things Have Got to Change" (24:29) is significantly shorter than either versions listed on the site (40:55 and 33:38). Quite apart from any vinyl vs. digital issues, this doesn't seem right to me. Just sayin...
  8. FWIW I am very much in agreement that Sonny's death was met with what almost amounts to indifference.  I haven't even seen a proper obituary.  Inexplicable.

    I am also very much interested in your Sonny Simmons discography.  If the offer is still open I believe you can attach the file to a response to this message.

    Many thanks.

    Ed Rhodes

  9. Ornette

    This is insightful and helpful. Many thanks.
  10. Ornette

    There's a Frank Wright date from 1972 and a Sunny Murray date from 1973 that purport to be from Artists House.
  11. Ornette

    Thank you for this. I'll compare it with the lists I have. Without checking this seems like a bit more than what I could account for. Is it your sense that his output diminished in the 80's and later? I mean...there are 11 items documented for 1965 alone, 6 for 1966, 2-4 for every year after that up to 1971, 14 in 1971 and 5 each in '72 and '73. Is there nothing like that for the later years? Yeah... I've seen some third party sets are supposed to originate from there. But is anyone on this the way that Wild was on the earlier stuff? Do you know of anyone who is trying to sort it out?
  12. Ornette

    Just curious about what people are using these days as a discographical reference for Ornette Coleman. I have the old David Wild discography which is good through the end of the 70's, though David has told me that he has newer information that he hasn't gotten around to publishing. I also have the Litweiler book but the discography after 1979 is pretty threadbare. I'm showing 11 entries for the entire 80's and 1 London date in August 1991. Nothing after that. Plus Litweiler doesn't really do unissued material that is known to exist. has 9 entries after the August '91 date that take you through 2005. But I'm on record that this site is at the very least unreliable, though I use it as a starting point if I have nothing else. I don't find the J-Disc site to be very useful as I have some of the same criticisms that have been recently leveled at Lord in the "Monetizing" thread. And I don't subscribe to Lord.though I take note that the print version stops at 1987. Thoughts...and questions... Is Ornette's discography really that light after the 70's or is it just that no one has really covered it? Who, if anyone, is covering it? Has anyone attempted to sort out the discographical details on the '65 material that has circulated since Wild such as Bremen or Berlin and the seeming conflict with some of the Stockholm dates? Is there no unissued material from the 80's and 90's? Stuff like that... Any thoughts, ruminations, leads, references would be welcome.
  13. Unheard Miles and Coltrane.

    Buddy Montgomery's time with Davis is documented on pages 186-189 or the Coltrane Reference. There were apparently gigs in Chicago, Los Angeles, Oakland and San Francisco just prior to the Spring 196- European tour that folks are familiar with. There are references to the possibility of a tape from the March 4, 1960 San Francisco Civic Auditorium gig on pages 189 and 575. This is being discussed on the Wynton Kelly/Cecil Payne thread where Medjuck reported that he captured the Clyp audio . I got it too. Easy enough to record with Audacity. It's a needle drop with a fair amount of surface noise but the tenor solo on "So What" is as long or longer than anything from the tour. OTOH, Wynton Kelly's piano solo was either missed or cut out from "So What" and the second piece is severely truncated. outstanding find.
  14. Wynton Kelly & Cecil Payne Live

    Probably March 4, 1960, San Francisco Civic Auditorium.
  15. Mose Davis is alive and well and living in Atlanta, GA

    In the early 1970's, before the word "disco" became associated with TSOP, the hustle and leisure suits, there was a dance club scene in New York that heavily featured records from bands like Mandrill, War, Mother Night, Cymande, BT Express...and the Counts. "What's Up Front That Counts" got a fair amount play in those clubs. You would hear "Rhythm Changes" in the mix but the title cut was the kind of thing that got played later in the night for the hard core crowd when things got heated up. Props to Mose. Glad he's still around. If you communicate with him again, tell him that some of his constituents from back in the day are still alive and kickin', too.