bertrand

I am not even sure there will be an LP. Too much music to fit and remember the pact between all the labels that the CD and LP have to match note for note. Backstory: this was going to be recorded in NYC and then everything shut down, so Joe recorded it in North Carolina where he lives. It was hard to find a studio...

Any suggestions on how to remove all the blank spaces? They are not there when I edit, but show up when I post - I guess cut and paste does not work well here.

The Panama Jazz Festival premiered the video of Wayne Shorter's final concert (as they are calling it) in Panama in January 2018. You can watch it until 11:30PM EST tomorrow 1/23 - it requires a donation of $5 or more (it is a 30-minute concert). The Carrington/Davis/Jeanty set from last Saturday 1/16 is excellent: Horarios » Panama Jazz Festival 2021 Also, my friend Terry Koger from Baltimore celebrated Jackie McLean tonight, I think it will be available forever: (44) Terry Koger Quintet - 90th Birthday Tribute to John "Jackie" Lenwood McLean (1931 - 2006) - YouTube

Joe Chambers asked me to share the press release for his forthcoming Blue Note recording. (Disclaimer: I have no financial interest in this recording) On February 26, the venerated multi-instrumentalist and composer Joe Chambers will release ‘Samba de Maracatu’, a notable Blue Note Records return for a significant figure in the label’s history. The album’s Brazilian flavored title track, which is available today to stream or download, was composed by Chambers and features him performing vibraphone, drums, and percussion with Brad Merritt on keyboards and Steve Haines on bass. The album is a nine-song set of original compositions, standards, and pieces by Wayne Shorter, Bobby Hutcherson, and Horace Silver. In the mid-to-late 1960s, Chambers played drums for numerous Blue Note luminaries appearing on some of the decade’s most progressive albums including Shorter’s ‘Adam’s Apple’ and ‘Etcetera’, Hutcherson’s ‘Components’ and ‘Happenings’, Freddie Hubbard’s ‘Breaking Point’, Joe Henderson’s ‘Mode for Joe’, Sam Rivers’ ‘Contours’, Andrew Hill’s ‘Andrew!!!’, Donald Byrd’s ‘Fancy Free’, and many more. The label’s owners – Alfred Lion and Francis Wolff – offered Chambers a chance to record his own album for the imprint during that fertile period, but he was riding so high on recording and touring with so many jazz greats that he declined the opportunity. Chambers eventually did release his own Blue Note debut ‘Mirrors’ in 1998 featuring trumpeter Eddie Henderson, saxophonist Vincent Herring, pianist Mulgrew Miller, and bassist Ira Coleman. On 'Samba de Maracatu', Chambers asserts himself more as a mallet player, particularly on the vibraphone. Throughout the album, he uses the vibraphone as the lead melodic and improvisational voice that often converses with Merritt’s piano accompaniments and solos. While ‘Samba de Maracatu’ isn’t a Brazilian jazz album in the strictest sense, Chambers utilizes various rhythms and indigenous Brazilian percussion instruments on several pieces, including the title track, which references the syncretic Afro-Brazil rhythms that originated in the northeast region of Brazil.

I heard the opening track, surprisingly hard-boppish!

I had it but it got lost in the Atlantic Fire.

Also known as Scoochie and Skoo Chee! The owner of Whisky Jazz is named Bourbon???

I like the way you think!

I bought it, and you are correct. Clearly he was a last minute addition. He sounds great, definitely worth it for Booker fans. I am pretty sure Booker's Blues is not the same piece he recorded for Candid.

Thanks! This makes it clearer how this came about. So Booker and Nuria only meet on three tracks. Does Booker solo on those?

Núria Feliu, Tete Montoliu, Erich Peter, Booker Ervin & Billie Brooks by Núria Feliu on Amazon Music - Amazon.com Trying to fill in my last gaps in the Ervin discography. I saw this one can be downloaded on Amazon for $8.99. It seems Booker gets a fair amount of solo space from the sound clips. Is he on all tracks?

My friend, writer Lauren Du Graf, is reaching out to the Jazz community to help her find archival footage of Billy Hart. The footage will be used in a short documentary on jazz musicians during the pandemic. The Director is Sean Mattison, and Lauren is the producer. The documentary includes a new interview with Billy Hart. They are looking for archival footage of Billy from any period, but preferably older footage, to be used in the film. As a placeholder, they have footage of Billy they found on YouTube, but they are looking for something that is better quality that wouldn’t be too time consuming to get permission for. Billy himself didn’t have a strong sense of where such footage could be tracked down. Thank you in advance for any leads you might have! Bertrand.

A lot more logical than downbeat. I give it 3.5 stars also, but my rating system is more random. There seems to be a fade-in on the first tune. Does this mean there were tape issues? Were they only able to salvage 46 minutes? Big G seems to suggest in the notes that they selected the best takes... Or maybe they took out the intro because there was no room on the vinyl

So they just named it that because of the first four bars? I am sure Cecil McBee will not remember what it is.

Probably, but what were the grounds?

I am not sure what the issue was. All I know was that I went to the Clifford Brown conference in Philly a few years ago and sat with Sickler and Brownie Jr. at a lunch and they were boasting about how they had had it pulled. It seemed they were suggesting Aebersold was some sort of cloak and dagger bootlegger which was absurd, he is well-respected educator with years of experience and an NEA Jazz Master to boot. Yes, maybe someone in his office effed up some paperwork, but there was no malice intended. I find it hard to believe the issue could not have been resolved with a check and some updated agreement. Whatever. PS: There have been some questionable Brownie composer attributions over the years. Just sayin'...

Sickler made a stink about the Clifford Brown Aebersold book and had it pulled, from what I heard. I am not sure what the issue was. I doubt that was a best-seller. I would hate to see Cory get in a pickle. He is a real nice guy.

Cory is a very nice guy and a great musician, no doubt about it. I am sure he did due diligence, but the discrepancies between the copyright laws are really problematic. The copies sold in Canada may be fine, but wouldn't any copy sold in the US be subject to US copyright laws? Maybe not - maybe what counts is the country of origin. As long as the laws of the country in which the CD are pressed were followed, then everything is good. I doubt it is that simple. And, as you said, the 'Body And Soul' does not line up. I am not even sure what Zev's role in any of this is. It goes back to the mystery of what agreement he has with Fowler. I definitely know from an email he sent me which I alas lost that he thinks himself as some sort of Left Bank curator, and that any release from Left Bank should bear his name in some sort of executive producer situation or something. I think he used the word 'courtesy', but I was getting the vibe that he thought it was mandatory. So what if I meet a guy who says: 'psss - I was in the audience for the last Coltrane gig, I made a tape, can you pitch it to Ravi?' and I pitch it to Ravi and he pitches it to Universal (Coltrane was signed to Impulse at the time of his death) and they decide to put it out (pitch-corrected, pun intended) and Zev is not involved at all. Does he still get executive producer credit? PS: This is a strictly hypothetical question, I do not have a tape of the gig. The odds are very slim that it was recorded, but it is impossible of course to prove it wasn't. We will never know.

How does that affect US distribution, I wonder? You didn't give Cory my name, I hope...

Something does not add up...

Everyone will order fast now for fear of it being pulled and I will have done them a favor

To clarify - if someone pulls a 'Palo Alto' and this CD is yanked it was not my doing. The purpose of this disclaimer is to prevent being accused of such.

Going back to Mingus This is a VIDEO clip of Mingus playing Secret Love? I think I remember some footage from Lennie's in the Mingus film. Could it be the whole concert was filmed?

Yeah, I was pretty sure it was Second Floor. It is POSSIBLE something changed in the last few years, you never know. This puts me in a bind - I actually worked part time for Sickler in the 90s, I would go to the Library of Congress to copy music. Nice side hustle with which I bought CDs. I stopped when my son was born for lack of time. I still talk to him periodically, if only to find out how that Herbie Nichols project mentioned elsewhere is coming along. And he and his wife run the RVG studio. If there is an issue, I won't be the one to raise it. I think it would be on Cory, not Zev. Cory is a nice guy and a smart guy, I find it hard to believe he dropped the ball. There is something else going on... And your photos raise another issue - Donna Lee is by Miles. I brought something similar up in the Rollins discussion regarding Tune Up. Davis Weiss pointed out it is registered under Miles, so supposedly it has to stay that way. But Max announces it as Cleanhead at Newport in '58, and the Mosaic box attributes it to Vinson. Did Vince Wilburn sue Mosaic? I doubt it. Try recording Walkin' and listing Jimmy Mundy as the composer. Let me know how it works for you.

If you knew Fowler, you would know that 'WTF is he talking about' is a thought that will often come to your head. The nonsense he was spewing at that panel I was on - yikes. Another mystery - since when are Clifford Brown tunes public domain? I find that hard to believe.