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bertrand
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Posts posted by bertrand
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80 is the new 90 these days.
Re: Benny Golson. I have heard him tell the Clifford Brown story many times. He always gets the month wrong and says the accident was in August. It was June.
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10 hours ago, Teasing the Korean said:
In this case, I would argue that you need a digital version to program a satisfying album.
For example, why three versions of "Pannonica" in a row on disc 1? Also, the 45 version of "Light Blue" on disc 2 is much more satisfying than the 2-minute version on disc 1.
They also could have fit the whole thing on a single CD if they omitted the 14-minute "Making of Light Blue."
Agreed, this should have been a single CD, although they left off some other tracks.
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On 12/31/2021 at 11:54 PM, david weiss said:
They played Shorter tunes (Nelly Bly and The Summit) on other concerts from this same Japanese tour. I'm not sure why they went with a slightly more conservative program for these particular shows and repeated a lot of these tunes for both shows like Now's the Time (others were incomplete takes as the tape ran out).
So these were two different concerts on the same night, and neither concert is complete because some tunes were cut short? Which tunes were incomplete?
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Today is the last day to watch, not tomorrow, correct? How long is the film?
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An old school discography will not allow the manipulations that Felser wants to do.
I will play around with Jim's suggestions.
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3 hours ago, clifford_thornton said:
It's Mats Gustafsson, and yes, that's the collector I'm thinking of.
Is he willing to make MP3s so we can hear the music?
PS: What's up with the LP on the floor? Hopefully it is Kenny G.
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This sounds like a group project several of us could collaborate on!
The basic data is at jazzdisco.org, need to figure out how to import it. Maybe creating an excel from there is the way to go.
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Apparently, you were just supposed to go to ebay and search for Jutta Hipp. Sorry about the confusion...
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2 hours ago, John L said:
I imagine if Blue Note owned them, they would have put them out long ago.
I don't know of any other existing Ornette Coleman recordings made from April, 1961-May, 1965. It is a huge gap in his discography.
Yes, that is definitely a motivating factor here.
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I am totally confused. I just clicked on it again, they are there.
Does ebay have different settings for different users? I hate ebay.
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1 hour ago, Chuck Nessa said:
There wouldn't be just one set, and the tapes probably exist.
I was thinking the tapes still exist. Are they still owned by Blue Note or did they revert to Ornette and now Denardo?
If Blue Note still owns them than that is what they should put out, not this dumb package.
If Denardo has ownership, then our only hope is if someone who has a test pressing is willing to make a transfer for posterity under the 'you can't take it with you' argument. Denardo had no interest using any Ornette archival material, according to my sources.
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I still see artwork listed when you scroll down e.g. a drawing of Horace Silver for $300. One item sold so far that I know of.
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50 minutes ago, mhatta said:
Blue Note Book: The 21st Century Edition (p. 277) has pictures of test pressing discs of BN4210 & BN4211 (I scanned it, but somehow I can't upload pic now). Seems they were made in March 3 & 10, 1965. The rumor has it that a set is now in a posession of a Japanese collector, and according to him, the actual contents are:
BN4210: Children's Books, Story Teller, Play It Straight, I Don't Love You, Architecture
BN4211: The Ark, Sadness, Doughnut, Taurus, Dedictaion to Poets and Writers
And Ornette didn't join Nappy Allen's band.
How do we convince him to make a digital version for circulation before it is too late?
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4 hours ago, Chuck Nessa said:
As I understand it, BN made a deal with Ornette for the Town Hall material and actually made test pressings for 2 lps. Then (somehow) Bernard Stollman (operating as Ornette's manager) issued an ESP lp. Ornette recorded the Golden Circle material as a "make good" for the project. I think I have told this before.
So there must have been more material on the 2-LP test pressings than on the single LP ESP disk. I wonder if any of the test pressings survived.
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Did Quentin Warren ever take solos with Jimmy Smith?
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7 hours ago, jazzbo said:
In the liner notes a listening session in '72 is cited where Ali and a musician he was staying with listen to Nichols et al.
Excellent!
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47 minutes ago, John L said:
This is indeed some amazing music, one of the most exciting releases I've heard in some time. As far as influences, he also sometimes reminds me a bit of Herbie Nichols. But Hasaan is certainly unique!
I wonder if Hasaan was aware of Nichols. Perhaps through Elmo Hope.
On 10/6/2021 at 4:07 PM, JSngry said:Just wondering...did Hassan leave any kind of a family behind?
On 10/6/2021 at 4:07 PM, JSngry said:Just wondering...did Hassan leave any kind of a family behind?
On 5/6/2021 at 3:33 PM, JSngry said:He was probably just listening to the internal and external energies of his everyday life. The best ones do.
On 5/6/2021 at 3:33 PM, JSngry said:He was probably just listening to the internal and external energies of his everyday life. The best ones do.
Autely.
On 5/3/2021 at 2:52 AM, LWayne said:Any contacts at Omnivore Recordings that I can contact. Bought the LP, but the cardboard sleeve has a tear. The email form on the Omnivore Recordings website goes to an independent fulfillment center that is useless. No offer to provide a new jacket, just advice to return to the brick and mortar store where I purchased.
I had previous problems with cardboard gatefold covers with Resonance Records for a Record Store Day release, and they replaced it immediately..
Doubt the fulfillment center will contact Omnivore as they promised. It has been two weeks. No to take matters into my own hands.
Like the recording a lot. Just wish there was better quality control and that missing notion called customer service.
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On 11/15/2021 at 8:49 PM, colinmce said:
John Coltrane Quintet
John Coltrane, tenor sax; Alice Coltrane, piano; Jimmy Garrison, bass; Rashied Ali, drums; Marion Brown, bells.
Van Gelder Studio, Englewood Cliffs, NJ, February 27, 1967
90774 E Minor Impulse! lost 90775 Half Steps - John Coltrane Quartet
John Coltrane, tenor sax; Alice Coltrane, piano; Jimmy Garrison, bass; Rashied Ali, drums.
Van Gelder Studio, Englewood Cliffs, NJ, March 29, 1967
90784 Number Eight Impulse! lost 90785 Number Seven - 90786 Number Six - 90787 Number Five - 90788 Number Four - 90789 Number Two - John Coltrane Sextet
Pharoah Sanders, alto sax; John Coltrane, tenor sax; Alice Coltrane, piano; Jimmy Garrison, bass; Rashied Ali, drums; Algie DeWitt, bata drum.
Van Gelder Studio, Englewood Cliffs, NJ, May 17, 1967
90790 None Other Impulse! lost 90791 Kaleidoscope (mistitled as Collidoscope) - Yes, those are the ones I was referring to. Are they presumed lost in the Universal fire? Could Ravi have copies?
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11 hours ago, Rabshakeh said:
Ditto.
I still don't quite understand what happened to all the other 1967 Impulse sessions. Are they presumed lost in the fire? Why was Stellar Regions not lost?
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Per the Facebook photos, Lou was in attendance!
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I know he has not been on the scene a whole lot in many years but I consider Grachan Moncur III still active because:
1) I saw him sit in with David Murray, Dave Burrell and Archie Shepp at An Die Musik in Baltimore in November 2019.
2) He was supposed to do a gig with Rene McLean in February 2020 which I think did occur.
3) He was in the studio with drummer Richard Pierson in the last year or so.
Grachan is supposed to do some Zoom presentation with pianist Alan Palmer as part of his online music school. I paid my $25, but nothing is scheduled yet.
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Lou was not playing per the website. Did he attend? Not sure. I can try to ask the guitarist who I know.
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1 hour ago, JSngry said:
There's no reason to have to travel 500 miles. There could be a worldwide network of affiliated libraries, museums, or other such institutions where access to the files could be purchased for an annual fee, or included in existing membership dues.
But if you want to prevent against the Jodys of the world, it will have to be onsite listening. Open streaming just means that it will be grabbed and sold by and to those who have no shame.
Exactly the kind of idea I have in mind. Affiliated network is good, I was looking for a good description.
Human nature being what it is, some heads of institutions will not want to work with others. But we can't take that into consideration, we have to assume going in that everyone wants to work towards a common goal to celebrate this great art form.
Yes, if there is streaming, there will be grabbing and bootlegging. Onsite only is the safest best. That still could have issues, PM me for an example.
Zevvers may think things like 'if people in every major city in the world can go to the Library to listen to this Tina Brooks date, why should I put it out' but I can't let that get in the way. I would still buy it, and others also. It cuts less into his sales than the private recordings. But he can't try to get away with things like excising bass solos to fit the vinyl.
So how do we get the ball rolling? I have been in communications with Stanford. I could ask them if it has ever been considered. Maybe their arrangement with the Monterey Jazz Festival precludes it, but I highly doubt it. The tapes have been there for years. The notion of sharing digital files across like-minded institutions would never have come up.
I could approach the Library of Congress also. My nemesis there retired. He would have blocked it, as he blocked every suggestion I ever made. If I said the world was round, he would argue that it was flat.
How much were musicians getting paid for club gigs, concerts and festival appearances?
in Miscellaneous Music
Posted · Edited by bertrand
Yes, contracts are out there but those who have them are not getting the research importance. Blue Note has contracts which would prove when an artist was signed to them but they are hanging on tightly to this info. It is needed whenever a tape shows up and it has to be determined which label, if any, has jurisdiction. This will be an issue if that Grant Green Left Bank tape ever surfaces. I think he was not with Blue Note, but they may claim otherwise.
The Left Bank archives at UMBC does have a few contracts, let me see if I scanned any of that when I visited last August. I know the fee for a Duke Pearson Big Band gig was shown, and maybe a couple of others.
To watch someone in action claiming contracts are of no historical importance, please watch the YouTube panel discussion I was on last year. You should be able to find it by searching for 'Baltimore Jazz Alliance Left Bank Jazz Society'.