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35 minutes including silent ayler footage. contact if available. thanks, len

how dare you say anything against sonny, no matter what decade. you know, he used to play on a bridge. great stories in all the books about people seeing sonny out there on a bridge playing sax (or was it just one person who saw him only once, and the stories spread from there. and the retirement/unretirement periods, can't get enough of those stories.

and since coltrane never had a bad word to say about anybody, this statement does not mean a thing.

Got that one recently, I think it was from CDConnection. Should be around... Here it is! (althouth you might want to get it at a cheaper prize...) Some of the tracks on that CD are not even on that Prez live box! ubu if the cd contains the same material that the lp has, then there is nothing new here. >>>Some of the tracks on that CD are not even on that Prez live box! they're probably from other dates that have been issued. just a good guess.

Some of the tracks on that CD are not even on that Prez live box >>> are they also from 12-22-56?

If you dislike Sonny so much, why bother even reading a thread devoted to him? And then to make a confusing joke about it... ? just because you were confused, does not mean that all others were confused.

i stand by all my posts about sonny being overrated. i was joking when i said that i can't wait to hear this new release.

I thought you hated Sonny and his playing (lame shit)? fa.ce.tious

ethan coen's (of the coen brothers) collection of short stories is good stuff.

this thread reminds me of a similar thread on either aaj or jazz corner a little while ago where the discussion was that ronnie scott is an acknowledged master of the saxophone. sure are a lot of masters out there.

anyone know of any kirk photos that were definitely taken at the keystone korner?

it's not as hard to get all the permissions required from the musicians/families. if it was that hard, then we would not see a lot of cd's that are being released all the time.

i can't wait to get this.

where were these taken. notice that the 2nd one is past-stroke. >past-stroke of course, i mean post-stroke.

it's all about money with these people. that's why he's a "bastard".

when's that bastard going to release some of the recordings that were made at his club (and i'm not talking about sonny rollins or barney wilen (sp?).

do we know if this poster is talking about one of the rehearsal sessions on the verve box. those are not with band, but with piano and bass. i'd like to find this book Linda Kuehl "Billie Holiday remembered" my library system tells me that there are only a couple of libraries in the u.s. that have it, and they refuse to lend it out to other library systems.

groucho would be fun to listen to once.

but radiola really did score big with the waller release. it has broadcasts that are impossible to find elsewhere, except for a few on some obscure lp's. and the tribute concert includes either armstrong or basie.

evidently no jazz ones. but the judy garland stuff looks great. It's on the Cadence sale list http://www.cadencebuilding.com/cadence/downloads/SPS32LP.pdf when we're talking about quality, price is not an issue.

i think what sheridan's entry means is that the first four tunes (stated as "rehearsal takes") are unissued, and not in the film. the film includes the other 11 performances. there is also 2:30 of crepuscule with nellie played during the opening credits, which is not listed in sheridan's entry. don't believe everything you read.

i'm sure that joe came in with tunes, but i believe that there were also long jams, improvised in the studio during the recording sessions, especially toward the end of pastorius' stay with the band. short segments were issued from some of these, like the dara factor example, and i'm sure that there are other jams that were never used for release. reels of long improvised jams sitting in the studio vaults. and i wouldn't call it extensive editing, taking two 5min pieces out of a 30m reel. teo macero with miles' 1970's music. now, that's extensive editing.

http://www.binkie.net/wrdisc/Weather%20Report%201982.html Erskine explained the genesis of "Dara Factor One" and "Dara Factor Two" to Brian Glasser: "The Dara Factors--that was one long jam. I remember they got this extra-large reel of tape, and when we were doing it they even ran a speaker out into the lounge so all the people working in the studio could hear it. We wanted to do a jam, and at one point I said, 'Joe, how about something like this? This would be fun,' and I played a kind of pocket groove. I thought it was cool. And Joe waved me to stop. He's standing in the center of the room, I'm in my drum booth, and he says through the microphones, 'What's fun about that? I don't hear anything fun in that.' So that's why Dara had that kind of ass-backwards beat, because he was always looking for something out of the ordinary." [iASW, p. 226] Brian Risner told Glasser, "Dara Factor was basically, 'Hey, we got an hour left. What are we gonna do?' And I was so efficient with the production on that record--we had two days booked, and we'd gone in and gotten two takes on everything, maybe three, and we'd gotten everything we wanted. So he had an interesting sequence pattern, probably on the Oberheim, and they jammed on that. There was a lot of work on post [-production] on it, because basically it was a groove and a basic melody, so we cut it and added a lot of the accents and stuff to make it work." [iASW, p. 226]

i heard from a good source that zawinul will never allow the release of the long studio jams from which a lot of the weather report 79?-81 tunes were extracted. that he wants the belief to be that he carefully planned and wrote those tunes. is that in the bio? the jams are supposedly fantastic.

i have the 5cd 'freelance years' box on riverside/contemporary, on which there are like 3-4 decent ballads. nothing else to my liking. i've seen concert videos from 1959, 1973(?), and 1982. have heard his stuff with monk. a guy sent me 2 cd's of various live tunes from various 1980's concerts that prestige is considering for release because the recordings are so great 'the cream of the crop'. he said that everybody's very excited about it over there. as i was listening to these, i was wondering - whatever do people see in this guy to give him such stature as a tenorman. anybody see that 1975 downbeat poll winners awards video on which rollins plays like a little girl, and r. kirk follows, and blows him away without even meaning to/attempting to do so? and what about tenor madness w/coltrane. as if that was actually a historic meeting between two heavyweight players. rollins is weak. i think there is some brainwashing going on in the jazz world. a lot of musicians are respected more than they deserve, because it's beaten into our heads by critics, and by people who listen to these critics.