bertrand

Me too.

So it wasn't just unissued sessions?

Great musician, and super nice guy. Long overdue for an NEA Jazz Masters award, IMHO.

Did anyone download the bonus tracks to One Beautiful Day that were briefly available on the Palmetto site?

The Grant Green tape was purchased by Sunenblick at Uptown. I kept telling him to put it out, but there was no talking to the guy. Now he is dead. There are rumors that his son is interested in finishing some of the projects, but I have no idea how that is coming along. Uptown purchased approximately 20 concerts. I know there was the Grant, three Duke Pearson concerts and the Blue Mitchell that came out. The Pearson that came out was half a concert. Sunenblick did not like the other half. He never even listened to the other two. Don't know what the other 15 were and only the son can put some coherence into what will happen to the remainders. Hopefully, he will enlist help from people who can help if he is serious about finishing his father's work. The Dodo Marmarosa release was a hopeful sign. He may have had the Lucky Thompson/Sonny Stitt from 1974. It would be Lucky's last recording. See Noal Cohen's discography. John Fowler, the member who has a fair amount of tapes, said there was a tape which is now AWOL. This suggests either Sunenblick had it, or Dorn. A number of tapes Dorn had are missing, including a number of Lee Morgan tapes. Another mystery. I contacted Dorn's son, who assured me all tapes had been sent back per the contract. They were sent back before Dorn's sudden death. According to the notes in the Etta Jones CD, Zev Feldman has access to all of Fowler's tapes. According to a press release, Blue Note was going to put some of these out if it was one of their artists. Nothing yet, the 80th anniversary is over. I am surprised no one is asking what will happen to the tapes Blue Note chooses not to release. How and when do we get to hear them? This has been doing on for years. Loyola University in Baltimore had made an arrangement which would have resulted in some archiving system, possibly including public auditioning options for researchers, but Left Bank got cold feet and pulled out. All we got out of this was the Walter Namuth/Mickey Fields CD. This project has never come to anything coherent, because the record industry and researchers have goals that are polar opposites. I have some ideas as to how to make everyone happy, but I doubt anyone will listen to me. Of course some funding is needed, but that should not be a deal breaker.

Maybe Harold Lovette?

I was hoping someone would suggest what the article in the Figaro that was posted on Facebook was alluding to

Apparently there will be more Monk releases on Impulse.

The Swainson was May 1987, Imagination was in June 1987. There may even have been a session after, will look into it. Who is the composer of Labyrinth?

That is definitely a plausible explanation.

I had no use for Crouch.

The two long tracks on We Want Miles and Ursula from Man With The Horn are fabulous pieces.

I deleted an erroneous post because I misread the description of the material at Rutgers. The Atlantic session is from 1965, and the description does not in any way suggest there is a copy at Rutgers. I thought it was the 1962 sessions mentioned at Rutgers but then I saw the dates. Sorry about that. I am still curious about the Atlantic Fire and why some backups exist. Focusing on the Fruscella date: another thread suggested Ira Gitler had a copy, so I could see a scenario where that got to Jordi Pujol somehow. But here is the question this poses to me: HOW did Gitler get a copy? And what other guys in the know (journalists, producers and other misfits) might have other secret copies of allegedly lost Atlantic sessions? Bob Porter posted elsewhere that he had info and that some information existed but of course he won't share.

Just got a shipping notice from Deep Discount. Curious as to why it was still on pre-order on their site after the release date, but I was not in a hurry.

I am still wondering where the tune from the lost session came from. I am starting to question some of the conventional wisdom regarding the Atlantic Fire.

Feldman has access to many tapes, as he himself explains in the liner notes to the Etta Jones CD. I wish these would come out more frequently.

So the Blue Note discography only lists some takes. It will always be the issued takes, plus some unissued or rejected. But you cannot assume that unlisted takes are always incomplete or unusable in other ways, as we have seen with the additional alternates that popped up on Japanese reissues a few years ago. In other words, the discography might list takes 6, 12, 17, 22 and 30, but there is no way to know exactly what the other 25 were. As we saw with Unity, they are not necessarily all unusable. Riverside/Jazzland gives no take numbers at all, so no way to know if anything of interest existed beyond the issued tracks. Only a fool would conclude that this means there is nothing unissued of interest. What was worth issuing at the time was dependent on a number of factors.

Glad I could be of some assistance despite my rudimentary discography-reading skills.

There you go. And of course the Blue Note discography is not complete, e.g. the Unity and Out To Lunch alternates that came out in Japan. I am still holding out hope that some surprises may pop up in my lifetime.

It all depends on whether or not Paypal presents it to the credit card as a 'money transfer'. You can be mad at the credit card that their policy is to charge a fee for such a transaction, but they do not decide what kind of transaction it is.

I am one of the guilty parties. What are some of the key recordings?

Did they only play 40 minutes or did they leave out some tunes?

So apparently Concord bought Savoy, which bought 32jazz, which bought Muse and Landmark. So Landmark was not under Fantasy, but it is under Concord. That is probably why Stu did not find the Hutcherson/Montoliu tape.

Twins Jazz in DC closed, as well as some restaurants which I would not really call jazz clubs but had good music.

That is a good point. Landmark recordings were not under the Fantasy/OJC umbrella, so they would not be controlled by Concord, correct? It might be worth getting in touch with Peter Keepnews. In any case, I am starting to think of a bigger scenario: how much do we know about possible unissued Riverside recordings, and Jazzland to go along with it. The Prestige discographies show unissued tracks like the two I mentioned above, but how about Riverside/Jazzland? I am looking for either unissued sessions, or extra tracks (not just alternates) from issued sessions. That is what I wrote to Concord about yesterday. I have actual song titles. Fact: there is at least one unissued Riverside date not in the discographies. It is a third JFK Quintet record with Joe Chambers on drums. The only discography it is in is Mike Fitzgerald's JFK leader discography, and that is because I told him about it. In fact, Joe called me today to tell me about an upcoming livestream he is doing in October, so I asked him. Yes, it was definitely for Riverside. I know a little more I got from another source, but I will not post it here quite yet. There are possibly a couple of Joe's pieces on it. I will go even further and posit: is it possible there are Blue Note sessions not listed in the logs? Who can definitely reject that possibility who was not at the sessions? Disclaimer: I am not asking because of the Mobley Algerian war soundtrack.