John L

I was also born in 1957 and grew up in California. I remember him being pretty big, including in my house.

RIP. Seeing him live was a great double pleasure: great music, great stories.

Very sorry to hear this. Victor visited me once when I was living in Paris. He was a wonderful person. RIP

Technical zenith? Maybe. I am one of those who is particularly affected by Miles' trumpet playing on ballads and slow-medium tempo blues. Miles' music during 1969-1970 was certainly spectacular, and I listen to it often. But when I get in the mood to have Miles' trumpet penetrate my soul, I will most often reach for the decade of 1954-1964.

Yes. But what if Miles had not hired Wayne and kept George until the end of his acoustic period. Then I imagine that we would be talking about this as the great Second Quartet and a peak period for Miles. I listen to the quartet with George Coleman a lot. First, Miles trumpet playing was consistently very strong at this time, preceding the increase in physical ailments that inflicted him after 65. Second, the impact of Tony Williams on the music was still very new and fresh, which clearly inspired Miles. On balance, I would say that a lot of Miles' greatest recorded trumpet playing was done with the quartet with George Coleman.

Yes, I also love these recordings

My #1 would have to be this one that virtually doubled the amount of Julius Hemphill music available with extremely high average quality.

Sly spent some of his initial down time with Bobby Womack who was on a similar drug-induced skid. Bobby came out of it OK, but Sly didn't.

RIP to a true One-Of-A-Kind.

It is Taurus Woman. That is one reason why I think it is Carlos Garnett. Like Rooster wrote, it sounds more like him than Tyrone Washington.

I just had a chance to hear this tape. I suspect that it is Carlos Garnett on tenor, not Tyrone Washington.

RIP - what a drummer!

I remember when we kept asking Michael Cuscuna about all of the unreleased Andrew Hill sessions in the vault. He assured us that they would never see the light of day because Andrew Hill didn't want to release them. Then one day Michael persuaded Andrew Hill to listen to the sessions again, and got Andrew to change his mind. After that, it was all released, most of it on the Andrew Hill select. As for Blue Note sessions that have still not been released, I think that I number of them have been discussed here at length, including the Tyrone Washington "train wreck."

It looks like they somehow got the personnel mixed up with Ted Curson's Plenty of Horn. How they did that I do not know.

I just heard this for the first time. Given that this concert comes two days after this band's Ronnie Scott's gig (Blues For the Fisherman) and two weeks before the Geneva concert recently released on Omnivore, it is interesting to compare the Norway concert to those recordings. On first listen, I would say that this new release does not seem to reach the artistic heights achieved on either of these other two recordings, although the sound quality is certainly much better than Geneva.

Relative to the RTE release that I have, there are 4 additional tracks here, but only one (it would appear) with Miles and Stitt: All Blues. There are two (new) trio tracks: Softly As In a Morning Sunrise and Makin' Whoopie. Then there is a track on volume 2 (Stardust) that I have not heard, but it was previously known just to be a piano introduction and nothing else. I am not sure if they have now released a whole track of it. Maybe someone who has volume 2 can chime in.

This is very possible. The entire Ljubjiana concert has already been bootlegged in fairly good sound, but the sound can still most likely be improved upon.

This does not look like a box set. I think that it is just the album Collaboration with Laurindo Almeida. The MJQ box sets include the Mosaic collection of their Atlantic Recordings and a box on Fantasy that collects the early Prestige and later Pablo recordings. I have the Mosaic Box but hardly ever listen to it - not really my cup of tea. I generally like the Prestige and Pablo recordings better, with a bit more Milt Jackson inspired blues and swing in place of the quirky third stream departures that were common in the Atlantic years.

This is an interesting thread. Almost all of the Resonance and Elemental releases come from the period of Evans' deepest heroin habit: 1964-1970. He almost always still played well during that period, but sometimes it could sound almost like he was phoning it in. We have so many live recordings from that period that it is easy for something to sound rather generic. I do think that some of the Resonance / Elemental releases fit that category, although hearing Evans in (usually) good sound on those records can still be quite enjoyable. In my view, the major exception to the above is the documentation by Resonance of the trio with Jack Dejohnette. That trio had a special sound, and I think that it inspired Evans. All we had until recently was the single Verve release of Live at Montreux. Thanks to Resonance, we now we have more than five times as much music from that trio, which is an important addition to Evans' discography (IMO).

RIP

Wikipedia has now added a date of his passing as April 27, 2025. But it is strange that still no official announcement would appear to have been made.

So these are additional concerts with Crispell, Dresser, and Hemingway? Or is this in the standard series as would be suggested by the titles in the soundchecks? I also love the former quartet.

Yes

Wow, I can still remember opening up baseball cards in 1964 and getting that Rusty Staub card!

Another great one has left us. He somehow never had the recording opportunities that he deserved. But what he left us is precious.