l p

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.

on those recordings, rollins is out of his element with the music that he's trying to play (avant garde, evidently). as a sax player he's a lightweight anyway. everytime i'd complain about a rollins that i'd heard, people would say the same thing: that you have to catch him in his good years. well, i've heard things from at least 10 random years. when do the good ones come up?

my opinion counts as much as yours. and in my opinion, it counts more than yours.

if you're referring to the 1962 village gate sessions, someone already has. and as i say that that music is some lame shit, i should add that i dislike rollins' music, and his playing.

on d.e.t.s. (d.e. treasury shows) vol. 1. 4/14/45 abc broadcast ""A Tribute to F.D.R. By The American Negro." is there a more serene broadcast than this. that's a rhetorical question. if you haven't heard it, it's really something else. track list 1 Moon Mist 2 New World A-Comin' 3 Nobody Knows The Trouble I've Seen 4 Mood Indigo 5 Chant For FDR (American Lullaby) 6 Poor Pilgrim Of Sorrow (A City Called Heaven) 7 Creole Love Call 8 Moon Mist

he's probably joking because the whole band sounds excellent when miles is soloing. and at worst, you can fast-forward through the liebman solos (recommended).

i'm just saying that IF there was nothing stopping him from continuing to record past the 64-66 period, then it would have been nice to have later recordings. there are some 1970's audience recordings from ronnie scott's, so that will have to do.

seems like an easy decision the other way for me.

ok, not most of the time. but quite often. too often.

what could be more important. his little magazine articles?

more likely he didn't think ahead.

http://www.jazzprofessional.com/Main/Les%20Tomkins.htm >>>In 1963, a conversation with Ronnie Scott led to Les taking his original tape recorder, a Ferrograph Mark 2, into Ronnie's club for three years and making recordings of the American jazz greats who were performing live in London for the first time...>>> if this is correct, then it was a big mistake for him not to record well into the 70's (unless he died or something).

anyone know the decade of this recording?

another third of their book is the useless tapestry in sounds attempts. they have a small handful of good songs. i recently checked out a '72 4 cd set. two good songs on the whole thing. chinacat sunflower, and some other thing. weak

at least a full third of their songs is country music. fuck that shit.

i am trying to find Alice Coltrane "Turiya Sings".

i've been reading some miles bios, and for a guy who couldn't construct a guitar solo to save his life, cosey is pretty full of himself in interviews. "dozens of tunings, one of which hendrix adapted", he didn't want to discuss his playing too much because he was writing a book about it (that was in the 80's). imo, just about the only moments that the 1972-75 guitarists sound good, is when they're playing behind miles. most of the time, as soon as miles' solo is over, the band falls apart until miles' re-entry. but sometimes the 2 guitarists do lock into a nice groove. reggie lucas deserves most of the credit for that.

sounds like the interview that albertson is sitting on will be lost just like the christmas carol and the Bob Laurence interview. great stories though. so much better reading them from you than listening to the actual recordings.