bertrand

How about the connection between Twin Dragon and the Atlantis album. Wayne himself told me about it so there must be something there.

What's the bonus track?

I remembered I have a bootleg vinyl called Miles Tones on Jazz Bird (Jaz-2005) with two versions of Blackbird, allegedly both from Cafe Bohemia. 1) 5/17/58 with Coltrane and Bill Evans. This one indeed has two Maria quotes. 2) 7/13/57 with Rollins (incomplete) - I don't hear a Maria quote. Now the dates could be wrong, it's a boot. Or there could be other takes of the tune on that day. I will check out the Losin site later, but right now it seems that all we know is that by 5/17/58, Miles had heard the piece. We also need a more specific timeline on West Side Story. This kind of reminds me of the discussion of Blakey's Golden Boy bring from the 1963 or 1964. If it was 1963, it means Blakey had early access to the music, which is plausible. In an interview, Wayne says Golden Boy preceded The Body and the Soul, which would place it in 1963. PS: This bootleg may well have the dates mixed up. That is clearly Coltrane, not Rollins, on a version of Four allegedly from 7/13/57.

That one is missing tunes? Then I will skip it. Are we sure though? I have bought Japanese reissues where the bonus tracks are not listed on the back, but you find out they are there after all once you take off the wrapper. Bertrand.

I totally missed this box. What's in it?

Exactly three years later, and now it is clear that Woody Allen is through. He will never do time, but will never make another movie either.

Is anyone interested in trying to put it out?

It was a whopping 6 years after, Land was coming back from a hiatus.

Wasn't Promised Land after?

More and more these are only CDrs though...

Was it standard practice for artists to sell LPs at gigs? The CD era definitely made that much easier, a lot less heavy. I wonder if you could buy Blue Notes directly from the artists at gigs.

Concord really did a number on jazz. Why did they buy up all these labels again? Clearly the motive was not to preserve Jazz history.

I emailed the film-maker last year and he told me he was hoping it would come out this year. However, a month ago at a Tolliver gig, Lenny White told me it would be up to him when he comes out since he produced it. He was going to talk to Wallace, I don't know if he did or not. Lenny may have been talking about the recording, not the film. The plan I think was for both to come out at the same time. I am sure there will be discussions now about releasing it. It really should have come out while Wallace was alive. It would belong on Blue Note, especially as Wayne is under contract with them. All the obits will perpetuate the same error: the first performance was not at Winter Jazz Fest in 2014. It was first performed at Drome in January 2013, then four nights at the Jazz Standard in July 2013. A performance in August 2013 at Strathmore near my house was cancelled, no comment. There was a 10-minute segment on the Jazz Standard residency on the Brian Pace report and an article in JazzTimes. Claiming it was January 2014 is sloppy journalism. Legend was performed at UCLA in May 1967. It is not clear from the downbeat review if Miles and Wayne played on the piece. Ray Brown and Grady Tate were on it.

You mean because the opening track of the rejected session is called 'Creation? I have been wondering that for years. Here is what I know: 1. When I helped put together the appendix of Wayne compositions for the paperback edition of his bio in 2006, I tried to find out what exactly were the compositions on the rejected session. Wayne's answer was that he did not remember the session at all. I don't think he was asked if there was a connection to Universe, but I did not ask him directly so was not in a position to prod more deeply. I listed them as group improvs in the appendix but I know that was not accurate. 2. Neither McCoy nor Mouzon remembered the date, but Mouzon did tell me that he never did a session with Wayne where he did not bring some music. It would be nice to ask Vitous, but the person who may know more is Barbara Burton if she can be found. 3. A musician who is in a position to have heard both Universe and the rejected session did not hear an obvious connection. 4. If the session ever does come out, then scholars can have a field day debating the question. Regardless of how good the session is, there are five Shorter compositions that are currently AWOL. That makes it of some musicological interest, I would think. As I posted before, the rejected Duke Pearson tune from Solid popped up on YouTube. Someone grabbed it for me and I paid someone to make a lead sheet. Now a lost Pearson tune is lost no more. It's not a classic, but that is besides the point. One question that can be debated right now is the connection between Twin Dragon and the Atlantis album. Wayne himself told me he borrowed from it, he seemed to imply it was quite overt. I don't hear anything blatant, but I hear a little something. You can listen to Twin Dragon on the NPR site.

Has Joni Mitchell already gotten it?

Good. I think there is a list of what Naima had since she tried to sell it at auction. But this is the first I am hearing that Alice had tapes, although I always assumed it.

Blue World is a different situation. No one at Impulse ever argued against its release for 25 years. They were literally not aware of it, Coltrane recorded it on the sly with the complicity of Rudy and Bob Thiele. But it is under the Impulse umbrella due to the contract. What they did not tell you is that it will probably be the last release ever of a Coltrane Impulse studio date. All the remaining unissued sessions are probably lost. Our only hope is if Coltrane had a backup copy, which we know he did for Both Directions. But Naima had that one, did Alice keep the ones from 66-67? I asked Archie Shepp, he did not get copies of sessions. Sonny Rollins did not remember that happening either. Does this prove that Rudy only ran a second recorder for Coltrane? No, it just seems to indicate that he did not do so for Archie and Sonny. I need to have a chat with Maureen Sickler about all this. Bertrand.

Yes, ultimately we can stream first and decide if we want to buy or not. I saw a press release from Blue Note calling this a 'lost' session. What a joke. Feldman's press release does not make this claim, but he is proud of being a producer of this release. The job was mostly to talk people into putting it out, methinks. It takes a certain talent, I am sure, which I would not have. Bertrand.

There are a lot of 70s Blue Note sessions that should never have seen the light of day. Not too many clunkers in the Lion/Wolff era though. There are a few that have a bad reputation, but that is subjective. I think ultimately, the issue is that this is the first, extreme, example of a decision that the old guard (Lion, then Cuscuna/Lundvall) felt strongly about that the new guard (Don Was/Zev Feldman) reversed. How much the new guard took the old guard's opinion into consideration is something we will never be privy to. I don't think this will happen a lot. This was probably the 'Lost' session with the most 'commercial potential'. The Train Wreck will remain in the vaults although it is a 'better' record. I don't want to speculate about the Shorter session. I will never clamor for it, but I am a bit curious, as I am curious about the Kenny Dorham one. Bertrand. PS: The bonus tracks to Sixth Sense were an interesting turn of events. I can't remember how they decided to reverse Cuscuna's decision to burn the session, maybe releasing only three tracks was the compromise.

If you mean the Horace Silver, that was the only instance I know of a tape being given to the artist. I never heard it was destroyed by Horace. There has always been this concern of being accused of trying to make a quick buck. 60 years is hardly quick...

Except apparently the tape on that one is missing. Some lost compositions on that one also...

Ah, they chose seven, but I got six. I did not get the Jimmy Smith, not sure why. The Blakey, Hutcherson and Reece were too notch. The three others were not as strong but still well worth having.

So now Kenny Rogers the country singer passed away at 81. The guy who did The Gambler. Just happened today. Who was this thread about? I am pretty sure the sax player who recorded with Lee Morgan died a while ago. Who was the person memorialized at Lincoln Center two weeks ago?

In the second edition, certain sessions such as the Shorter one were changed to 'rejected'. I am very curious to see if Feldman puts out a further press release about this. I doubt he will claim he discovered the session, but I also doubt that he is aware that in 1999, when we on the old BN board were asked for a wish list of unissued sessions for the 60th anniversary, this one came up for consideration but was not selected. Six were chosen: Hutcherson's The Kicker, Blakey's Drums Around The Corner, a Grant Green and the Lost Sessions. Also, I think there was a Jimmy Smith. Can't remember the 6th. I am sure he will not suggest the Train Wreck. He could never talk the current regime into its having any marketability. Remember that Natural Essence was never issued on CD in the US, I am pretty sure. For me, the interest in some of these sessions partially lies in the fact that they contain otherwise unknown pieces by some major composers. It would be nice to rescue them regardless of releasing the session. The new Blakey has a Timmons piece he never recorded again. That one was not completely lost, there was a lead sheet at the Library of Congress. Jimerick is a mystery, however. It kind of has the vibe of a Lee Morgan tune, but even though almost all of his recorded pieces were copyrighted, as well as a bunch of others, this one is not in the stash, nor was the piece called Lee's Tune from Drums Around The Corner. I assume that one was credited to Lee on the session reels. Even though the Shorter session will probably never come out since Wayne requested it, it would be nice if someone could at least make lead sheets of the pieces contained therein. If Bob Belden did so, I am not aware. It would be interesting to see, if only for research purposes, if they evolved into pieces recorded later. As an analogy, Wayne told me that parts of the piece Twin Dragon that I found at the Library of Congress were later used on Atlantis, and I can kind of hear what he means without it being overt. There is a research project for someone - what parts of Twin Dragon made it to Atlantis? Wallace Roney recorded it, but it has not come out yet. Lennie White told me they are still trying to figure out the 'logistics'. However, it can be heard as part of an NPR Jazz Night in America broadcast. Would love to hear somebody's thoughts on that. Finally, on the subject of lost pieces - a rejected track from Grant Green's Solid record recently popped up on YouTube. It's an otherwise unrecorded Duke Pearson piece, possibly called Spanish Dancer. I made an MP3 and paid a musician to make a chart. So now the piece is lost no more, but that does not mean I am putting out there, until I figure out a way to do so. It is not the greatest thing he ever wrote, but it not my prerogative to make this decision. I am sure there are many lost classical pieces that are not the greatest, but their discovery was still welcomed. Bertrand.

Yes, Don Sickler produced these sessions. Label is still TBD. I guess it could just be MP3s on his site, I would be OK with that but CDs are nice as well. He is also starting to sell lead sheets. My dream is to have a one-stop shopping site for all his music. Of course, new songs always appear. There is speculation that the song Nickels, recorded by Mary Lou Williams in 1954, is by Herbie.