bertrand

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?

I once read a reference in some jazz book to a brother named Marvin who supposedly died in Vietnam, although I actually looked on the wall and did not see his name. Whether Marvin also was a musician, I do not know.

Took the discogs plunge as well. Under $18 including tax and shipping.

Any leads?

Maybe I should try to find Chateauvallon.

None of you are in quite yet. I saw the same blurb in Jazz Times, which means they must have received some press release from his holiness Zev or one of his minions. In my naivete and excitement, I posted it on Facebook. Someone tagged his holiness and he responded to say that there were production delays and that my post should be taken down and then the person contacted via PM to ask me to take it down. When did Zev buy Facebook? Will this post be taken down as well?

The virtual Baltimore Jazz Conference takes place tomorrow 10/16 from 12PM to 6PM EST. I will be giving a presentation on Jazz Research from 4:50 to 6PM. Topics will include the Left Bank Jazz Society (Baltimore and DC chapters), my ongoing inventories of the compositions of Herbie Nichols and the repertoire of the Duke Pearson Big Band, and finding unrecorded music at the Library of Congress. Film-maker Kenny Dalsheimer will also discuss his ongoing documentary on Baltimore pianist Yusuf Salim (Joe Blair). The conference is free but you must register to attend: Baltimore Jazz Conference 2021 - Baltimore Jazz

Another track from this concert was on another compilation (see below). It is not very clear what Blue Note might have been looking into. Maybe it was a different ENJA date. The comment did not seem to suggest that it was necessarily an artist signed to Blue Note, but this is a valid theory - ENJA probably had to get clearance at the time. It would not be a reissue though. If there were other cuts it would be the first time out for those. I hope it is not this session. His sloppiness is not reassuring to hear. Live At The Festival : Bobby Hutcherson/Harold Land Quintet : Harold Land (ts) Bobby Hutcherson (vib) Hal Galper (p) Reggie Johnson (b) Joe Chambers (d) Zusaan Kali Fasteau (perc) Live, "International Jazz Festival Ljubljana 1970", Krizanke, Ljubljana, Yugoslavia, June 4-6, 1970 The creators Enja (G)LP2030, (G)CD2030-2 [CD] Man on Mercury (zkf out) Helidon (Yugo)LP-08-003 Note: For the rest of Enja (G)LP2030, (G)CD2030-2 [CD] see Bill Evans, Karin Krog & Archie Shepp.

Cheepnis is funny. When he stayed away from sex, he could sometimes hit the mark. But anything to do with sex, yikes. His incredible misoginy has been belabored enough, no point to dig that up again. I have enough Zappa material, I think. I could use more things like Little House I Used To Live In or Eat That Question or The Ocean Is The Ultimate Solution. Is there more out there of that calibre?

Wow! The direct pickup sound from the 70s is much maligned, you are definitely in the minority opinion!

Circe later became Atlantis.

About the turban: 1) Not long after 9/11, I saw him at Blues Alley. He talked to us for a few minutes afterwards from the bandstand about all the hassles he was getting when flying. I almost thought he was admitting to us that he was, in fact, a sikh, but just did not advertise it. 2) A few years later, I saw him at the Kennedy Center. There were 30 or so sikhs with turbans waiting to sign CDs afterwards. It was clear from the conversation that they thought he was 'one of them' and I did not think I should argue. So was he really a sikh? I still don't think so, but I am not 100% sure. All I know is he was a super sweet guy and a fabulous musician. The last of the B3 giants from that generation. I will miss him.

A version of VSOP with DeJohnette on drums played for the Left Bank Jazz Society on 12/4/66. Supposedly they wanted Miles but could not afford him. I wonder what material they played. No recording has surfaced, which means nothing when it comes to Left Bank.