John L

I just re-listened to the first recording. While sound is indeed terrible at the very beginning, it gets significantly better. Loud audience voices are the primary distraction. The music is fantastic.

Thanks, Romualdo! I actually downloaded at lot of that first session somewhere online. I can't remember where. I don't have any of the second session, where I presume the pending Giant Steps and Satellite are coming from.

Yes, and now we need Mosaic to come along and do the exact same thing that they did for the Dean Beneditti recordings!

The Sparks Brothers first recorded it in the 1930s under its current title. Memphis Slim reworked it somewhat, although he called the song "Nobody Loves Me."

Yes, there is one on YouTube. Somehow I missed it.

Actually, my reaction was just the opposite. Holy shit!! As far as I know, there have so far been no known Coltrane live recordings of either of those two songs. Am I wrong?

Yea, it took me a long time to get through it. But, as Jim says, it does have value. A lot of work and research went into it.

It's about time, isn't it?

I am one of those Grateful Dead fans who usually felt lukewarm toward Weir's contributions. But I know now that I used to underappreciate him. His counterpoint was often a valuable complement to Jerry Garcia's playing and Sugar Magnolia is a damn good song. RIP

RIP. I remember him from the time I was living in Paris. Thanks for posting.

I also joined in March, 2003. Some of us go back not only to the Blue Note Board and Jazz Corner, but to Jazz Central Station before that from the mid-1990s.

I think it is crazy that most AI programs will have it spit complete bullshit before ever admitting that it doesn't know the answer to any question. .

Very sad. RIP

I think that part of the problem is the way that it was presented. Maybe they should have called it: Jazz - The First Half Century." In that case, I might have felt moderately favorable toward it. But to exclude the next half century as if nothing was going on outside of Wynton Marsalis is absurd.

Interesting. For the case of the Pablo Box, I guess that it might have been too difficult for Eric Miller to admit that his "European Tour" box contained some music that wasn't even recorded in Europe.

As I recall, he wasn't. But I am not sure. Eric Miller was the one who put it together, and I believe he was defiant in the face of criticism.

The worst thing about it is that Pablo (1) did not consult with expert Coltrane discographers like Wild before issuing the set and (2) did not make corrections even after they were confronted with convincing evidence of the mistakes.

David Wild lists a corrected discography for the Pablo box on his website: Track Title Box Set Dates Previous Issue Correct Dates 1/1 Impressions Paris 11/18/61 Stockholm 11/23/61 Set #2 1/2 My Favorite Things Paris 11/18/61 Rhino R2-71255 The Last Giant Stockholm 11/23/61 Set #2 1/3 Blue Trane Stockholm 11/23/61 OK 1/4 Naima Stockholm 11/23/61 OK 1/5 Impressions Stockholm 11/23/61 OK 1/6 My Favorite Things Stockholm 11/23/61 OK 2/1 Mr. P.C. Hamburg 11/25/61 Birdland NYC 2/9/62 2/2 Miles' Mode Hamburg 11/25/61 Birdland NYC 2/9/62 2/3 My Favorite Things Hamburg 11/25/61 Birdland NYC 2/9/62 2/4 Norman Granz Intro Paris 11/17/62 OK Set #2 2/5 Bye Bye Blackbird Paris 11/17/62 OK Set #2 2/6 The Inch Worm Paris 11/17/62 2308-217-2 Paris Concert OK Set #2 2/7 Ev'ry Time We Say Goodbye Paris 11/17/62 2308-217-2 Paris Concert OK Set #2 3/1 Mr. P.C. Paris 11/17/62 OK set #1 3/2 My Favorite Things Paris 11/17/62 Possibly Paris 63 1101 3/3 The Inch Worm Paris 11/17/62 Stockholm 11/19/62 #2 3/4 Mr. P.C. Paris 11/17/62 Stockholm 11/19/62 #1 3/5 Naima Stockholm 11/19/62 OK Set #1 4/1 Traneing In Stockholm 11/19/62 2308-227 Bye Bye Blackbird OK Set #1 4/2 Bye Bye Blackbird Stockholm 11/19/62 2308-227 Bye Bye Blackbird OK Set #2 4/3 Impressions Stockholm 11/19/62 OK Set #2 4/4 Swedish Introduction Stockholm 10/22/63 OK 4/5 Traneing In Stockholm 10/22/63 OK 4/6 Mr. P.C. Stockholm 10/22/63 2308-222-2 The European Tour OK 5/1 Naima Stockholm 10/22/63 2308-222-2 The European Tour OK 5/2 The Promise Stockholm 10/22/63 2308-222-2 The European Tour OK 5/3 Spiritual Stockholm 10/22/63 2620-101 Afro Blue Impressions OK 5/4 Impressions Stockholm 10/22/63 2620-101 Afro Blue Impressions OK 5/5 I Want To Talk About You Stockholm 10/22/63 2308-222-2 The European Tour OK 5/6 My Favorite Things Stockholm 10/22/63 OK 6/1 Mr. P.C. Paris 11/1/63 2308-217-2 Paris Concert Probably correct 6/2 Lonnie's Lament Berlin 11/2/63 2620-101 Afro Blue Impressions OK 6/3 Naima Berlin 11/2/63 2620-101 Afro Blue Impressions OK 6/4 Chasin' The Trane Berlin 11/2/63 2620-101 Afro Blue Impressions OK 6/5 My Favorite Things Berlin 11/2/63 2620-101 Afro Blue Impressions OK 7/1 Afro Blue Berlin 11/2/63 2620-101 Afro Blue Impressions OK 7/2 Cousin Mary Berlin 11/2/63 2620-101 Afro Blue Impressions OK 7/3 I Want To Talk About You Berlin 11/2/63 2620-101 Afro Blue Impressions OK 7/4 Impressions Stuttgart 11/4/63 Unknown (not Stuttgart) Thanks. I look forward to hearing the sonic upgrade.

Yea!

With all respect to Jackie...

Yea, I don't see that a CD comeback is in the cards. They will be collected by some only as artifacts, and the huge supply of many of them will keep prices low. With LPs, you have analog sound that some people still value, as well as attractive packaging. With the capacity of hard drives and computers so high, CDs no longer have much value as a storage of sound. People can talk all they want about their perceptions of "real product," but the bottom line is that real product is sound in this case, plus information that can also be digitalized.

I just heard this. It is an interesting concert, surprisingly "inside" all the way through. However, I can't help but feel that it doesn't live up to potential. If Rivers and Waldron had played together more often, there could have been a lot more.

So do I.

Well, I guess that I should have been a bit more precise in my comments. While some of this information may have been lost at Blue Note, it wouldn't seem to be a major issue. We have exact recording dates for almost all the classic Blue Note sessions, even if a lot of this information wasn't included on the back cover of original EP and LP releases. From about the 1970s until the end of the century, we not only had precise discographical information included on reissues of classic earlier records but established jazz labels would generally include all of this information on new releases as well. Now, the situation has significantly changed in that regard and, as I wrote above, I worry that a lot of discographical information is not being saved for posterity at all.