Al in NYC

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About Al in NYC

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  1. Like a few folks here, my dad went back with Mosaic to the original Monk set. He had belonged to a couple of those old style record clubs like Columbia and Musical Heritage, and I guess Mosaic must've bought into some lists at the start because one day in the mail came the solicitation from this new outfit to buy this Monk set. Dad had a lot of it already on the old 10 inchers, but he was a huge Monk fan and the lure of having all of those recordings in clean sound on new LPs was too much to resist. I remember him sharing the exciting news with my then-college student self and sending cassettes to me. He then bought the next 2 sets, Mulligan/Baker Tenetette, and Albert Ammons/Meade Lux Lewis, of music he also loved and had a longtime relationship with. So someone in our family had the Mosaic bug early. Tina Brooks was someone who Kenny Burrell had hipped my dad to back in the old days, but of course Tina had all too soon faded away. But when a complete set of his unobtainable dates magically appeared in the Mosaic catalogue it was an easy sale. Dad loved that set and played it in regular rotation for months hipping us all to Tina's work.
  2. A small stash of original V-Disc masters

    I have a large mound of old 78s inherited from many relatives. Among the records that came from my mother's cousin, who served as a Seabee in India and Burma, was a small number of V--discs. I remember Goodman, Miller, and one of those mood music Andre Kostelanetz things. I remember my father's surprise at running into them because when he was in the army in the period after WWII the V-discs were treated as contraband if you tried to take them off base and at some point the military ordered them all destroyed. According to him it was federally illegal for civilians to possess them.
  3. Wow, those prices are truly shocking. I didn't think these records were all that rare. I inherited vinyls of Mode For Joe and Page One back when my father died, in several shelves of records of the same vintage. I think the Page One may have been sent to dad by Joe himself, since my dad knew him from his time at Wayne in Detroit. Of course, I have had the CDs of all of the Henderson Blue Notes for decades (and have upgraded a few of them over the years). So I would have no need for the Mosaic. But if the Mobley set sold that well then there's obviously a pretty decent market for music of that era. While we old jazz-centric folks from the late vinyl years and the years of the early CD reissue bounty may have most or all of this music, it seems that others so not. Since it seems that Mosaic can put BN sets together pretty easily from the fine Japanese remasters of this material, and probably make a decent profit on them, more power to them. However much we may want more adventuresome sets of more obscure musicians or labels, I'm certain these sets are a much better bet for a company on the ropes like Mosaic.
  4. Cicely Tyson has Passed

    A truly great actress RIP. I was fortunate enough to see her in her late career Tony-winning star turn in Trip to Bountiful on Broadway. She was indeed amazing and touching in a role that put her on stage for about 2 hours straight at 88. As for the Miles connection, a close friend of my parents who was not a jazz fan but knew Cicely Tyson well through her work in the civil rights movement always referred to Miles as "that awful little man", and said of their marriage "I have no idea why she married him, I don't know why anyone even likes him". Further into Ms. Tyson's connection to jazz, she can be seen on Sunday night 1/31 on TCM in an extensive early film role in the pretty strange 1966 jazz movie A Man Called Adam. Starring Sammy Davis Jr. as a rather Milesesque character, with a supporting cast of Louis Armstrong, Ossie Davis, Frank Sinatra Jr., Mel Torme, Kai Winding, Peter Lawford, and Lola Falana, a Benny Carter score, and Sammy's trumpeting dubbed by Nat Adderley. Crazy baby.
  5. 4 of 7 for me, not bad (Freeman, Blythe, WSQ, Forrest/Scott). The Blythe is, of course, a classic (although I like a few of his other recordings from the same period nearly as much). The others are merely very fine to great.
  6. Goodness that's a boring and almost wholly predictable list. The only semi-outlier is Conference of the Birds, and even that has a direct Miles/Bitches Brew connection.
  7. HutchFan, I don't post around here much anymore, but I wanted to thank you for your hard work in rolling out this list and the posts on your website. As I've been slowly collecting my way through the '70s, I've been on the lookout for lists like this one that might guide me a little better. My dad's collection pointed much of the way through previous decades, but like a lot of folks his age he sort of gave up on taking in new music in the '70s, so other than a pile of Pablos, a few Xanadus, some records by old friends, and the obligatory copies of Bitches Brew and Koln Concert, there wasn't much there. Since I started reading through this thread and your website last wee, you've already pointed the way to a few things I've picked up. Great stuff (that Coleman/Montoliu and the Bobo Stenson were both real killers, among others). Oh, I think my count is around 135 (or 136 or so now that you've added Broken Wing), counting stuff I have in Mosaics and other boxes or partially mixed in on reissues. Very heavily weighted towards the earlier part of the decade, like most others here.
  8. Musicians as drivers

    Allen Eager won his class and finished 10th overall at the 1961 12 hours of Sebring, co-driving with his girlfriend, and more experienced racer, Denise McCluggage. The next year he crashed out of the same race when he collided with Ken Miles of Ford vs Ferrari Christian Bale fame. Here is a longish, but fascinating, story about the pioneering Denise McCluggage, her struggles in auto racing and her relationship with Eager, and the story of that 1961 race. https://www.si.com/racing/2018/10/29/denise-mccluggage-racing-driver-journalist No thread on jazz musicians and cars would be complete it seems to me without mentioning Herbie Hancock and his unique 1963 Shelby Cobra, which he bought brand new for about $6,000 and still has today. https://www.cnbc.com/2016/07/14/a-rude-car-salesman-did-me-a-favor-says-jazz-icon-herbie-hancock.html
  9. Lee Konitz R.I.P.

    Even though he once told my father to go to hell, I dearly loved Lee Konitz, and I think my dad loved him even more. He could be a cantankerous man, in the best sense of the word, and sure didn't suffer fools (a confrontation with some chatty idiots at a Jazz Standard show a few years back was especially memorable, and hilarious), but he was also caring, generous, curious, and would play with all sorts of musicians he respected. Hence all of the great recorded collaborations pointed out by many here. I have been listening today to several of his recordings from the late '60s through the '70s. During this period it feels like he was breaking out of the Tristano/bop/cool box he'd been in since the earlier years of his career, either through his own affiliations or the pigeon-holing of record companies and critics, and really stretching out and using his considerable talents and the vocabulary he came with to make really adventurous music. Beyond the compelling musical conversation and challenges he continued with Warne Marsh during this period, I have always particularly been attracted to his ongoing collaborations with Martial Solal. From the wonderful Impressive Rome and European Encounter forward, particularly the amazing Satori with Dave Holland and Jack DeJohnette from 1974. I was fortunate enough to have several opportunities to see him perform, from a show at the West End way back when I was first at Columbia to the last time I saw him at the Charlie Parker festival in Harlem a couple of years ago. His playing was always always magnificent and compelling and reflective of a deep engagement with both other musicians and jazz history. Of course, he was a part of so much of that history, and with Lee's passing we move further on from a direct connection with a lot of that history, from Claude Thornhill to Bird and bop, Birth of the Cool, and the whole cool jazz moment of the 1950s (to which Lee may have been somewhat wrongly attached, but attached he certainly was, and he played with most of the important figures). Even though he was in his 90s, this one really hurts, especially because its a reminder our human and artistic connections to one of the most pivotal and exciting moments in American musical history are now being forever severed. Bye Lee...
  10. Wallace Roney R.I.P (COVID-19 victim)

    This is brutal. I was just told of Wallace's death this afternoon by a friend from one of the old jazz boards. And I started to reminisce about the several times I saw him and the few times I personally interacted with him. The most memorable were seeing him twice in a couple of weeks leading an orchestra and playing beautifully doing Wayne Shorter's previously unrecorded Universe suite at the Charlie Parker Festival in NYC and the Detroit Jazz Festival, seeing him with his wife Geri Allen at the Brooklyn Museum (heartbreaking now), and seeing him in an impromptu late night set here in NYC with Russell Malone on my 50th birthday weekend, when he came down and sat in the audience next to us playing some beautiful ballad comping while Russell soloed. But the most beautiful show was almost 20 years ago now on a hot night in Detroit, where he simultaneously improvised with Bennie Maupin over a few Miles tunes in a surpassingly beautiful moment I still treasure among my very best jazz memories. On a more sobering front, I believe Wallace was playing shows into March. I wonder if he was exposed then? I know most NYC clubs were open to mid-March I'm hoping against hope that not too many of our great musicians (and their audiences) were exposed and potentially infected during those weeks when we should have been so much better about seeing what was coming. Wallace Roney is a big loss, gone way too soon, and he will definitely be missed. Bye...
  11. Charlie Rouse, John Coltrane and Thelonious Monk

    What an incredible photo. Having been in Cobo Arena maybe hundreds of times I can picture exactly where that was. That earlier thread conatins the recollections of someone who attended to concert as a high schooler. Apparently, Coltrane's own group (other than Alice) couldn't make it to Detroit for some weather-related reason, so he played with Monk. The date was January 15, 1967, the same day as the first Super Bowl.
  12. Roy Haynes 95th birthday shows at the Blue Note next weekend have been cancelled and replaced. Certainly seems prudent.
  13. Happy Birthday, Roy Haynes!!!

    Happy Birthday Roy!! I believe his birthday shows next weekend at the Blue Note have been cancelled though, which was probably an easy call. The club is now showing Dizzy Gillespie Afro-Cuban All-Stars for those dates.
  14. According to what I see online this morning, all of the major NYC jazz clubs are still planning to be open (although the Vanguard has cut back to one set on weeknights). Given what's going on here I can't imagine that that is going to last. Was supposed to go out tonight to catch Kirk Lightsey at Mezzrow. Although I would like to help them in what I am sure is their hour of need, I'm not sure if I'm going to make it. Might be the last show I'm able to see for a while though...
  15. McCoy Tyner has died, aged 81

    Crying this afternoon with the NYC rain. One of my favorite artists ever has died. Will always have a special place in my heart and in my ears for McCoy Tyner. Goodbye Mr. Tyner...