bertrand

The November 21 concert in the Smithsonian's Take 5 series will feature pianist Wayne Wilentz focusing on Duke Pearson's last recordings, which I loosely refer to as the 'Brazilian Years'. I am writing a short blog piece on Duke for their website, in which I am planning to focus on Duke's role as producer at Blue Note. I am realizing that there a lot of holes in the Blue Note timeline, and a lot of inconsistencies depending on which source you use. Ike Quebec served more or less informally as A & R man up until his death in January 1963, and this informal relationship may have started in the late 40s. Leon Mitchell was also involved for a short while between 1960 and 1962, probably in conjunction with Ike. His role is not clear. Duke Pearson took on the role after Ike died, although how formal that was is not clear either. It became more formal when Liberty was in the picture, and he discusses his role in an interview from 1969 I listened to at the Schomburg Library. It seems the conventional wisdom was that Duke left Blue Note around the time Frank Wolff died, but that can't be right. In particular, he produced the Lee Morgan Memorial album which had to be in 1972 or later. Duke was still involved in other reissues and compilations, I think the twofers that came out in the 70s. What is the latest date that we have for a reissue giving Duke produced credit? It may be as late as 1975. Does anyone have one of these twofers listing him as producer which would be as late as 1975? Bertrand.

On the subject of soundtrack records being different from the music in the film. 1) For Alfie, the music in the film is a different session with British musicians. I would buy that. 2) The takes in The Connection film are not the ones on the Blue Note record.

Thank you. One can listen to unissued Coltrane AND new music. It's not an and/or thing.

Bassist Tyrone Allen celebrates Butch this Thursday 8/15 at the Smithsonian American Art Museum as part of the Take 5 series, 5-7PM. FREE. The other musicians are Aidan Lombard (t), Brian Settles (ts), Theo Rosenfeld (as), Isaac Wilson (p) and Kyle Benford (d).

No. The Lee Morgan tapes are AWOL. Don't get me started.

Oh that. As long as FNAC is not closing...

What happens 10/31?

She should ditch this asshole. What movie is this?

I thought this thread was going to be about Wallace Roney.

Remind me how you do that again? I am too much of a fat, lazy dumbfuck to do it myself.

NOPE! I have an idea of what he was trying to do but he did not give me a chance to explain what could go wrong. In this case, no news is bad news.

I thought of a reverse image search but learned the hard way to shut the fuck up on that particular topic.

The best! A shame that several live dates are AWOL.

How do you do a reverse image search?

When the Dutch CD came out, I wondered if Mobley at Ronnie Scott's was recorded? There are live CDs from that club, perhaps they recorded all the gigs? Did Mobley play at Keystone Korner?

Did anyone get a CD copy of the Kenny Dorham with Grant Green, or it YouTube only?

It would be good to confirm with Jymie Merritt that he is the composer of Jimerick. This session is worthy of issue.

The photo is of pop musician Richard Carpenter, who had a successful dup with his sister Karen in the 70s. I suspect they are not as well known in Europe. It is the Paul Combs book that you have? Bertrand.

Are there any photos of this Carpenter dude (not the brother of Karen)?

There are two Tommy Potter CDs out there courtesy of our Andorran friends: Hard Funk and Hard Funk in Sweden. Does Freddie Redd appear on all tracks on both CDs? There is some overlap. Thanks, Bertrand.

Someone with a connection to Blue Note should find out what they have in place to avoid this.

Could it have been another sign of ill health?

The photo on the Resonance cover shows a huge bump on his forehead. What could that be?

That may be true.

The lost 1963 sessions came from a copy that Coltrane took home. The copy was in Naima's possession, along with outtakes from the Johnny Hartman sessions etc. But there are also unissued sessions from 1967. Those may have been lost in the fire. But was Coltrane still taking tapes home at that point? Those would not have been in Naima's possession, of course. Alice would have had them. Was she as meticulous at keeping material as Naima was? I asked this question on Facebook and tagged Ravi, but nothing so far. He does not pop up a whole lot. Between this and the Atlantic fire, a lot of priceless items may have been lost. BUT there may be second generation copies of some of the material floating around. The existence of these for at least two of the Atlantic sessions has been discussed on this board, and at least one is about to come out. It behooves the Jazz community to put their thinking caps on and try to figure out what could still be salvaged. Some ideas to start: 1. How did those Atlantic tapes surface and could the same source(s) be in possession of other tapes? I have heard the argument 'they would have surfaced by now' but that is nonsense. Things surface every day, e.g. the Larry Young Paris tapes. I knew years before Feldman that tapes existed, but I never knew if they would ever surface. There are 7 billion people on earth, anyone of them could find a tape, in theory. 2. Was Coltrane the only one who took tapes home from the RVG studios? Did any other studios let artists take tapes home? Were ALL these tapes lost when the artists got divorced or died? Maybe some widows have tapes at home they never thought of telling anyone about. Take the Mingus Detroit sessions. Roy Brooks had them and his widow kept them. Yes, families are often clueless, but not always. 3. And then there can be some flukey situations. For example, very few people seem to be aware that Rutgers has copies of some Blue Note tapes. Despite my best efforts, I could never find out what they have. All I wanted to do was make an inventory. Are they copies of what is in the Capitol vaults, or tapes that exist nowhere else? Just some thoughts. Bertrand.