John L

There is apparently a treasure trove of unreleased vintage Ornette Coleman recordings with the estate. Given that Ornette didn't seem to want them released when he was alive, perhaps the estate continues to honor that?

Yes! The ultimate Pres performance for me in that mold is the alternate take of "You're Getting to Be a Habit With Me" from the February, 1958 session, also with Sweets - extraordinary beauty that Lester probably couldn't have even played if he wasn't in such bad shape.

Mosaic seems to have changed their website. Instead of receiving a notification that my order has been placed, I got a message that my order "is being reviewed." What is that all about? Will they decide after review against letting me have one?

Maybe they have in mind December 20, 2022?

It ain't whatcha do, it's the way that you do it.

That is understandable. Most of us here have accustomed our ears to hearing and enjoying lower fidelity recordings that have special musical content. As long as it is audible, It is almost as if we can replay it in our heads in Hi Fi. But it takes getting used to.

Another great Bird disciple on alto from the same period was Sonny Criss. Personally, I think that Criss also belongs in this pantheon. He developed the blues side of Bird in his own unique way just as deeply as Cannonball (IMO).

I have lived and worked in many different countries, including in East and West Africa. I knew quite a number of musicians in Nigeria in particular, and was struck by how many cite Grover Washington as a primary influence and inspiration.

While not standing judgement over Kenny G and appreciating that he may be very good at what he does, I can just say that I plain and simply hate his music. It aggravates the hell out of me. I can't stand it when I hear at malls or the dentist. If it is on in the mall or supermarket, I will tell my wife that we need to get out here now. If it is on at the dentist, I request that they take it off. The first time someone played for me Kenny G, I didn't even know who he was but immediately wanted to vomit. On the other hand, I can really enjoy Dave Sanborn in the right context and I love Grover Washington Jr. even if he did make a lot of records that don't interest me at all. In fact, Grover Washington Jr. is still really loved abroad, particularly in Africa, including among highly accomplished and serious musicians who weren't even born back in the day. That is saying something.

It feels like the end of an era.

I loved that scene in the Wayne's World movie when Garth visited Hell. He was in a big room surrounded by white bread people with empty faces and big smiles listening to Kenny G.

I just heard it for the first time and am inclined to agree. Those three tracks were MUCH better than I expected. Yes, Bird is clearly impaired and misfires many times. But if you can bear to listen through that, there is actually good musical substance to enjoy. It is a different Bird, but that's even part of what makes it musically compelling. Genius is genius.

The discussion on this thread reminds me of a recent conversation I had with a fine American saxophonist who married an Ethiopian woman and is now based in Addis Ababa: Jonovan Cooper. He comes from the Coltrane school but has developed a very individual style that includes Ethiopian influences. When I asked him who his all time favorite saxophonist is, I was a bit surprised that he immediately answered "Cannonball Adderley." He said "Cannonball put so much supreme soulfulness in everything that he did, which is what I strive to do."

Actually, the Billy Berg's material surfaced rather recently, well after Yardbird in Lotusland was released. Shaw Nuff on Yardbird in Lotusland is from a Jubilee broadcast and Salt Peanuts is from an NBC broadcast. There is only a little bit of known recorded Bird from Billy Berg's but the pre-Ornithology How High the Moon is quite beautiful and unique.

Sometimes Cannonball hits the spot like nobody else. That corresponds to who I put in the first tier, somebody who gives you something special that nobody else does. As far as his place in jazz history goes - no, he was not as influential as Coltrane or Rollins. But that is a different question. The greatness of an artist is not just in his or her influence on the development of the art.

Most of it was bootlegged a while back on the "Rare Live Recordings" label, But "Live in LA' would appear to also have a 13:14 Scrapple From the Apple recorded at the ranch at a later date that is not on the bootleg. Other than that, the previously unreleased music is a quartet recording from the Shrine when Bird was apparently dragged to the venue by Teddy Edwards in an almost unconscious state. I haven't heard it yet, but apparently it is some of the worst Bird ever recorded.

This is indeed some amazing music, one of the most exciting releases I've heard in some time. As far as influences, he also sometimes reminds me a bit of Herbie Nichols. But Hasaan is certainly unique!

I am not sure, but I recall hearing even before the Universal Fire that there was no known unreleased Coltrane left in the Impulse! vaults. Coltrane kept a lot of tapes at home, which has been the source of most subsequent releases of previously unreleased Impulse! material.

I think the second Jump Up album was called "Plug It." I didn't care for it either. But some of those Gramavision albums were very good, including Gallery and Again and Again cited above. I also like Impala quite a bit.

Nice that Jupiter Variation is being reissued. That is the only collection that includes "Peace on Earth" without Alices's overdubbing. I didn't even realize that it was on CD before.

Expression has always had a place in my heart as something like the last word from Trane. Some of it is quite beautiful as well. At the time I bought it in the mid-70s, Stellar Regions, the Temple concert, and the Olatunji Concert were still far from being discovered/released. Therefore, for a long time, along with Interstellar Space, Expression was the only real sound picture we had of Trane at the end. It was a distinct picture too. Stellar regions filled out that picture even more. But the Olatunji Concert sort of shattered it, making everything a bit more confusing.

Mike Steven or Mike Stevenot (as in discographies I have seen)? He is rather mysterious, it seems that he didn't make many recordings at all.