John L

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.

For new jazz, the labels that I buy from tend to be Blue Note, Smoke, ECM, and a lot of small often artist-controlled labels. In every case, I would say the precise recording dates are the exception rather than the rule. What you say about Columbia and Concord is spot on, but it would seem that most reissues of the music include this information. So the information was documented but maybe not included on original LP covers. Today I wonder if a lot of this information is not being documented for posterity at all.

OK, this is a pet peeve of mine. There is a strong trend toward providing minimal or no information about recording dates on new jazz recordings. That stands in sharp contrast with past practices of the 20th century when exact recording dates were commonly documented. I understand that there may be good reasons for this. Some have to do with modern technology that now longer necessarily requires having an entire band in a recording studio at the same time to make a record, and also makes professional-quality recording cheap enough so that released music can be cherry picked from a huge number of recordings from multiple dates. It likely also has to do with the fact that artists are now often able to control their own releases and labels, and may not feel as anal as record executives about documenting precise recording dates. But even the large labels like Blue Note now seem to be following suit in not showing concern about providing precise discographical information for new recordings. What do people here think about this? Personally, it bothers me quite a bit. When I engage in assessing or understanding the career work of a jazz artist, I like very much to be able to understand the chronological order of recordings. For example, it can be insightful to know if a particular concert performance occurred before or after a certain studio recording.

This is all very interesting if it is indeed true. Thanks. I think that the direction to orient improvisations to the melody as opposed to just playing on the chords is not inconsistent with an accepted harmonic progression. Monk's approach in that regard was quite different than that of Ornette.

Can that really be true? None of the accepted harmonizations of Monk's composed melodies come from his own notated music? Monk himself seemed to play similar harmonizations for each given piece.

RIP to one of the greats

Very interesting quote indeed. I seem to recall that some of the Hurricane Restaurant broadcasts might have gotten their first release on V-Disc. In any case, with the Treasury Shows and the World Transcriptions, there is no shortage of Duke Ellington recordings from this period.

I was referring to Hutchfan's list, which includes many of Bud's musical children but not Bud Powell himself.

That is a nice list but I would have expected to see some Bud Powell.

Thanks, Paul. Sounds good.

I wonder if it is a different concert than this one from May 12, 1966:

Von Freeman with Misha Mengelberg and Han Bennink? Nice.

There is some fantastic music on the box but I still prefer it in very small doses. What gets to me is not the fact that it is jams but somewhat the contrary: some of the box is largely the same musicians playing the same blues and standards night after night, not always with enthusiasm and with strong encouragement to bring their solos to crescendos with lots of tooting and honking to get the crowd excited. That can get a bit tiring after a while. But small doses can be quite rewarding as at least one or two of the masters will usually play something special.

The JATP format did encourage grandstanding that could get excessive. But the quality and individuality of many of the musicians on this box saves it all. For me, just the prospect of more Lester Young made buying this set a no brainer.

RIP

Very sad indeed. I loved having Brownie here. RIP in jazz heaven.

Yes! To go along with the current Decca Armstrong big band Mosaic, we also need a newly remastered and complete Okeh, Columbia, and Victor Mosaic big band box.