John L

I would move toward the large orchestra material next, particularly as you already have a collection with the All Stars. Get all of the volumes from the 1930s, starting with the earlier ones.

OK, this is the same as the two tracks on the Gambit CD, although the bass has more presence on the CD than it does here: https://www.youtube.com/watch?v=Go0Ft6ZDYpk

This actually leads me to suspect that we are talking about two different recordings of Ruby My Dear and Nutty. On the Gambit CD, the bassist is clearly audible on these tracks. It does sound to me more like Ware on bass - the approach is more similar to the studio recording of Nutty with Ware than the Carnegie Hall recording with Malik.

The confusion refers to the fact that Ruby My Dear and Nutty are listed on the released CD and in the Lord Discography as being from the same 1958 concert. It would seem that this is not true.

Chopin would be high on my list

Are you saying that we suspect that the Five Spot recording originally released on Blue Note might be the Naima tape with Ware and Wilson? This is a very interesting discussion. That fact is that Rudy My Dear and Nutty sound like they are coming from a different source than the rest of the concert. Coltrane is much stronger in the mix and the echo distortion is gone. What Romualdo is suggesting sounds logical - that at least these two tracks could be from an earlier date when Coltrane was still a member of the working quartet - although Jim seems to be suggesting that the other tracks might also be from an earlier vintage.

Anyone know how many (if any) of these performances were issued by ESP? Or if there are any new discoveries here relative to what has been circulating?

A great great singer. RIP

Yes!

OK, thanks.

Is that a third alternate of Mandy is Two? I wouldn't mind hearing it. Billie's delivery on that one is unbelievable.

Alex - My booklet is exactly like yours. It looks like that they put the disc one contents where they should have put the disc 2 contents and vice versa. Not really a problem though.

Alex - I will check my booklet when I get home today. John

Apparently, he is improving. Let's be hopeful.

Happy birthday, Lady Day, and thank you so much for the music!

One thing abut Heineken is that they have slacked somewhat in the quality control of what is brewed outside of Holland. I have lived places in the world where the local Heineken tasted absolutely nothing like the mother country brew.

As a huge Billie Holiday fan, I will get this out of curiosity, although I certainly share the worries expressed here. I didn't think that the sessions and studio talk issued on the complete Verve box did Billie Holiday's legacy or memory much good. In Billie's shoes, I wouldn't have wanted it to be released commercially. This material here is probably similar, maybe even more problematic given the time in her career that it comes from.

:tup :tup :tup :tup :tup :tup :tup

Yes!

:tup

Amen to that!

The Open Door is killer, essential listening for anybody who thinks that Bird was already in major decline in 1953. The tapes may have circulated for some time, but I don't think it had any commercial (bootleg) release until Bird's Eyes included it in two of their last volumes in the 90s. I still remember being surpried and astonished when those Bird's Eyes volumes appeared. Another strong set that I don't believe has been mentioned is the Chicago Perishing concert of 1950. Part of that concert was released on "One Night in Chicago," and before that on "An Evening at Home With the Bird (sic!)." But there are also amazing Bird solos in excellent sound from what is believed to be a later set from that concert. I am also very attached to the 1947 Carnegie Hall broadcast with Diz. Howard Theater (1953) (included on One Night in Washington) is also very fine.

Amoeba (Berkeley, SF, Hollywood) is incredible as a still-standing large-scale music store. But it sure ain't what is used to be.

Yes, there is a booklet.

This dynamic probably has to do a lot with population dynamics. People with emotional ties to jazz are primarily from older generations. Every year, a large number of jazz fans die who are not replaced by younger people becoming jazz fans. Jazz is no longer the sound of the street, the sound of youth in America.