bertrand

https://www.ebay.com/sch/i.html?_from=R40&_trksid=p2380680.m570.l1313&_nkw=jutta+hipp&_sacat=0

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.

Did Quentin Warren ever take solos with Jimmy Smith?

Excellent!

I wonder if Hasaan was aware of Nichols. Perhaps through Elmo Hope. Autely.

Yes, those are the ones I was referring to. Are they presumed lost in the Universal fire? Could Ravi have copies?

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?

Per the Facebook photos, Lou was in attendance!

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.

Lou was not playing per the website. Did he attend? Not sure. I can try to ask the guitarist who I know.

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.

Nothing wrong with making them available, agreed. The problem is not making the others available. You won't be able to find them on the torrent sites. My issue is that they are not necessarily not available because the performances are poor. Sound quality and commercial potential are usually strong factors. Let's pretend a 1960 Tina Brooks live date pops up. Stellar performance, OK sound. He was still with Blue Note, so they have first dibs and their point man on these nowadays is Zevvers. He has to convince the higher-ups, and they decide it will not sell enough, despite the relative buzz Tina has accrued in the last 30 years. Then what? Unless the guy with the tape kept a copy and slaps it on YouTube or a bit torrent site or goes to Jordi Pujol, we will never hear it. If he decided to place it in some archive instead, at least someone could hear it, and really anyone willing to make the trip. If one single archive hosts enough of these, it is worth the trip. Blue Note could still try to release it. The idea that someone could travel 500 miles to listen to it rather than buy it is not a valid argument against this approach. Concord could be too MOR for my taste, but there were more than a few exceptions. Emily Remler, the Neil Swainson date, the Maybeck series... I picked up a fair amount when they popped up at Barnes and Noble for $3.99, but I am sorry I did not buy more.

Another label could look into what they have. They provide a spreadsheet upon request. Excellent. But what if multiple archives in multiple cities had this collection and Monterey and Newport accessible for on-site audition? All they need is some computer storage. A few external terabyte drives and we are set. Conceptually trivial, probably a logistics nightmare. But, again, floating the idea can't hurt...

It is more a question of the cost of issuing everything. The labels need to recoup their expenses. So they might get 20 tapes handed to them, one will come out because it is a strong performance and will sell. What happens to the other 19? We can't assume they were all poor performances. The Monterey Jazz Festival tapes are an interesting case. They are housed at Stanford and can be auditioned on site. Commercial release is still an option, Concord did it. For the ones not released, you can listen at Stanford. Not ideal, but think of the alternative: if a record label had bought them, there would be no way to hear the ones that did not come out. With this option, there is a way you can. Not a convenient way, but a way. Same with Newport tapes at the Library of Congress. Now with digital, having copies deposited in multiple locations in multiple cities is an option. In theory, it is a great idea. Making it happen is a whole other thing. Let's start with the first step: could the Library of Congress and Stanford establish a reciprocity where digital copies of both Newport and Monterey were placed in each? The agreements with the two Festivals may preclude it. On the other hand, I doubt the idea has ever been pitched. Maybe it should be pitched...

These are coming soon. Will titles like Third Season and the Herbie Nichols have the bonus tracks? Also, no one noticed my comment about Young Men From Memphis? The take of Things Ain't... from the mono version of the L.P. is different from the stereo. I asked Michael Cuscuna about this yesterday. He said it is possible the mono reel survives, but it would be in Iron Mountain in West Hollywood. What source will this Japanese version be using?

I am wondering if there were problems at WEAA with their transmitter or something. I need to hear clips some other way. I probably will still get it, but there is no urgency. It's not that I don't want it, I just won't listen to it if the horns are inaudible. A bigger question is really whether all these types of discoveries need to be made commercially available? Something like this was going to get a strong push of course, but loads of such tapes are popping up as those who have them get old and start realizing they can't take it with them. Not everything can come out, what are legal alternatives to preserve them so that present and future jazz fans can enjoy them?

Not just Coltrane. I could not hear the horns at all, period.

I may decide to pass on this.

They are playing it right now on WEAA. Coltrane sure seems WAY low in the mix, I can barely hear him or any other horns for that matter... Edit: He is more audible on the YouTube samples. Very odd...

Did De Graff film Hank performing in Holland is what I want to know.

The very first sentence in the Iverson article is misleading. There is some written music for Love Supreme at the Smithsonian. It is not of course a score in the classical sense, i.e. every note that McCoy plays is not written out, but it is some form of sheet music that I assume Coltrane brought to the session as some rough guideline. This is not the first time he has spewed such nonsense. He played at the Atlas in DC about 8-9 years ago, and in the pre-concert chat lamented about the lack of written music in Jazz. This was just a few blocks from the Library of Congress which houses such pieces as Twin Dragon and Universe by Wayne Shorter plus lead sheets for all his classic Blue Note compositions, a bunch of Herbie Nichols pieces, recorded and unrecorded, same for Tadd Dameron and several others. A lot of these had enough material for someone to be able to play them, even if they had to make some choices regarding the composers' intentions. So yes, not nearly as much thoroughly written-out, note for note music as in classical, but far from nothing at all. Mingus may have claimed he wrote everything on 'mental score paper', but there was also written music he chose not to give to the sidemen. Not the same thing. This kind of claim sits uneasy with me, and perpetuates stereotypes about Jazz musicians that I am not comfortable with.

Certainly possible. There is a story rhere, I am sure. I nudged Travis Klein on Facebook, hopefully he can get someone to dig more. Maybe the guys who did the documentary. Does anyone have the phone number for Gene Ludwig's manager

Travis Klein, who has a good knowledge of Pittsburgh music history, knows nothing about him. So Marvin must not have stayed in music.

I found a similar listing. So he did not die in Vietnam but did serve. The liner notes to the Tommy Turrentine record on Time says he is an aspiring 15-year old drummer. So he served one year and came home. Did he continue to play drums?

The same Richard Carpenter who did not write Walkin' and ripped off Tadd Dameron and many others?