bertrand

Interestingly, Hank gave a concert at the Smithsonian on 6/7/70 with Bill Hardman, Stanley Cowell, Mickey Bass and Jimmy Hopps. This is less than two months before Thinking Of Home was recorded. I have a review, but it does not talk much about the tunes played. They thought Hopps was way too loud.

Maybe it was not you who posted a YouTube link to the jam from a different year. There was definitely video though. Normally, one listens onsite, but maybe there is an offsite option these days. I will look into it...

Here is a late Mobley I missed: he is on one of the Newport all-star jams 7/6/73. I found this at the Library of Congress SONIC site, which means it can be listened to onsite. Tape is incomplete, so there may not be much there. The one identified track is Night In Tunisia. Hank was on the same concert as the Etta Jones Left Bank that recently came out, but his portion was not issued (yet?). It seems the first half of the band was the same quintet as Breakthrough, then Etta played with Cedar's trio for the second half. Hank is heard noodling behind the announce as Etta is introduced. JSngry, weren't some of these filmed?

These are all the right questions.

Curtis Fuller is still around... Kevin said: 'well... except... according to the liner notes of the Mosaic box set of Woody Shaw's Muse recordings, there was a short period in 1965 where Lion supposedly gave back a few master tapes to people he recently recorded. But if Mobley was one of them, he had the masters so he should have said that in that interview.' So are there missing tapes from this period? I am thinking Sweet Honey Bee (12/66) and Jody Grind (11/66). Lion sold the label in '66 but kept producing until the late summer of '67. My hunch is the period where Lion would have been giving back the Masters is when he was working for Liberty. It jibes with the two sessions above which we are 99% sure had to be dubbed from LP. So who would have the tapes? Horace's son for Jody Grind? Duke's son Anthony? In both cases, I think we can consider them lost. So what was the first session Alfred produced as a Liberty employee? We know the last were Procrastinator (7/14/67), Oblique (7/21/67) and a Turrentine session released in hodgepodge form (7/2867). Slice Of The Top is 3/18/66. Mobley complained it was unissued, but he did not say he had the tape... I told you there were many mysteries about Blue Note. Time to write a book.

I got the link for a YouTube clip where they play Blues Walk. Although the comments mention singer Lodi Carr, she is not heard on this clip. So, Dan, maybe you have a different clip or just longer. What songs are on it? Did you make an MP3 in case someone needs it in the future?

A while back, someone posted a brief Lo-Fi audio clip of one of Hank's last gigs at the Angry Squire. Was it here or Facebook or some other site? Did anyone capture it?

Just woke up from a dream where, a day after the clip surfaced, 20 different people posted 20 different full Mobley concerts on Facebook with the caption 'you didn't know about this one?!?' I'm going back to bed Seriously, though, is it possible Newport 1959 with Blakey was filmed?

I was going to ask if he told you he was working on a film soundtrack

Shepp's memory was fine at the BYG conference in Baltimore last November.

If Hank was asked to do a film score about Algeria, Shepp would have been the hook up. There is another Algerian thing that Shepp was involved with that has surfaced, waiting for more details when the researcher can get back to doing her research. I will email Shepp's wife.

I doubt I would have agreed with this consensus as there are holes in this theory. 1. None of the music on Thinking of Home is thematically related to the war. 2. There was a film connected to it. I am not saying it was not the Thinking record, I am just saying that I don't buy the argument that Hank got mixed up that much. He would have just made up this French-Algerian war angle? It does not line up with the rest. Edited my response because I see that Hank was not claiming it was recorded in Paris. I am still curious as to what music was played in Chicago.

I wonder what music the group that Mobley had with Muhal Abrams would play on gigs. Did Hank write any new music in Chicago? Exactly how long was he there? This alleged French-Algerian war movie soundtrack will remain forever a mystery. It was a sore subject in France at the time and still is. Godard made a film that remained on the shelf for years. No Mobley music in it

His nephews actually have a lot of items, including a trumpet and flugelhorn, but maybe not contracts. I will try to find out.

Max Light is brilliant.

Just donated.

I contacted Rick. I will share this thread with him. I think we should ask him all our burning questions: 1. How did Tina hook up with Utica? How did he even get up there? 2. How did he sound? 3. Was it I just standards or did he bring some new originals? What else?

Are they real CDs or CDrs?

A poster also popped up on Facebook of an all-night tenor extravaganza in 1969. Tina was one of the 12 tenors listed, along with other heavy hitters. Michael Weiss checked with the organizer Jim Harrison - Tina did not make the gig, alas. So it would be great to get a hold of Rick Montalbano to see if Tina made those gigs. Maybe they were even recorded on the sly...

Just to get the contract dates? I was thinking for research purposes.

Actually, I would like to find out the dates now in case a Lee Morgan tape turns up. Who do I call?

I am tempted to test that theory.

You bring it up a good point about contracts. How do we know the contract dates? If a rare tape shows up of a Lee concert, and Blue Note claims he was under contract at the time, how can they prove It? Even if it is sandwiched between two studio dates, that is not a guarantee. Those records probably exist in the Capitol vaults.

Finding our exactly when Butler came on board is one of the many still-unresolved mysteries of Blue Note. It is amazing how little solid research has been done on the label considering its critical role in post-war jazz history. Lion was a very secretive person, which does not help, and canards perpetuated on the internet do not either. But there are some records few people have seen, including the session notes. And clearly there are some records of sales figures. I am curious how George Butler and Duke Pearson split up their roles. Duke of course was still there up to 1974-1975. The often repeated claim that he left in 1971 after Wolff died was proved to be false earlier on this board. But it seems Butler edged him out of a lot of his duties...

I don't hear much either, but Wayne specifically wanted to make a point to me that he reused elements of Twin Dragon in Atlantis. The way he said it, it was almost like he was saying Twin Dragon was a rough draft. It definitely fits in with Atlantis although it was four years earlier. Of course, who knows how long he had actually been working on Atlantis. He may have been saving it for a non-Weather Report solo opportunity, which he did get of course. Do you see a stylistic difference between Twin Dragon/Atlantis and Wayne's Weather Report pieces from that era? That would be Plaza Real, Predator, Swamp Cabbage, Pearl On The Half Shell and Face On The Barroom Floor. Would those have fit on Atlantis or would they have clashed?