felser

I've never heard them, see that they're only on vinyl. I guess this is case where youtube is my friend. Also a case where I would pay for downloads, which I'm normally loathe to do. I think I have all of her recordings with Sonny Simmons in one form or another. She was something, and quite overlooked.

And subtract the great Frank Foster, who often went far afield of mainstream.

And even when they do it, not necessarily that great. The Dylan 1974 Live box came down on Amazon from $129.99 to $107.99. Sounds good? I paid $88.25 + $3.99 shipping (so $92.24 total) on ImportCDs.

PM sent

I have most of his 50's/60's recordings on Sun, Duke, and Mercury, but not his later work. I like what I have quite a bit, but the later albums don't seem so easy to come by on CD.

How does that work? I'm not aware of it.

https://www.dailykos.com/stories/2022/6/5/2100647/-Remembering-Slugs-Saloon-the-hippest-jazz-joint-on-New-York-City-s-Lower-East-Side Other frequent Slug’s habitués included Philly Joe Jones, Freddie Hubbard, Blakey’s Messengers, Wayne Shorter, and Elvin Jones. Primack recalled catching Yusef Lateef, Archie Shepp, Herbie Hancock’s earliest sextet explorations, and Keith Jarrett’s rangy quartet with Dewey Redman, Charlie Haden, and Paul Motian.

The Alliance Entertainment sites (ImportCDs, DeepDiscount, CCMusic) will have it much cheaper, especially ImportCDs. Dusty will probably also have it cheaper. Amazon has gotten crazy expensive on a lot of new titles, sort of like post-heyday Tower Records did.

1 – I like it, way better than the norm for this sort of thing. A Love Supreme riff nicely worked in there. I should probably be able to ID at least the tune, but I can’t. Brian Lynch on trumpet, and his album? 2 – Love it, right in my wheelhouse! Also works in A Love Supreme 😊, more blatantly than the first cut. Nimbus West feel, but likely more recent vintage? Fidelity is way too good to be Nimbus West. Love the tenor playing. Kamasi Washington? Tenor is well familiar with Pharoah, pianist is well familiar with Lonnie Liston Smith’s work with Pharoah. This has all been done before, but it’s done really well here. If I don’t already own this, I will take care of getting it ASAP. I’m thinking I might be able to ID this with some work. 3 – Also in my wheelhouse, probably a well-known tenor (Joe Farrell?), but it’s the drummer who is winning me over, sounds just like Elvin. Oh, that’s a possible clue! I may yet ID this with some additional work, but Sangrey will likely ID it right off. Great cut. It will be in my collection shortly if it isn’t already. 4 – I know this composition well, just need to pull it from the memory banks. Nice CTI’ish feel to it, has to be Hubert Laws and Freddie Hubbard on CTI from the early 70’s, doesn’t it? Ron Carter on bass, Billy Cobham on drums? Good cut, which I would think I have somewhere. 5 – Started pretty, but meandered and didn’t go anywhere for me. 6 – Just feels off to me, like rhythm section, trumpet, and sax playing in different keys and times. I like the walking bass. 7 – Leaves me cold overall, though it grows on me a little bit as it goes on. Intro had me waiting for something, but that meh guitar solo certainly wasn’t it, nor was the tuba laying its burdens down. I assume this sort of thing is considered very “in” in some circles like the Knitting Factory audience or whatever, but lost on me. I’m old, and have not warmed to the new rhythm approaches of the past 30-something years. The sax solo does catch my attention. At 10+ minutes, it way overstays its welcome for me. 8 - Like it, don’t love it. Again, the rhythm thing hangs me up, even though the bass player has good chops. 9 – Exotica! I like it. Sounds vaguely familiar. Assuming 50’s vintage from both the style and the fidelity. Wouldn’t shock me if I own this already. 10 – Very fragile piece. Not up my alley, though clearly they are talented musicians. The guitar and bass do more for me than the lead horn. Cut goes nowhere as it goes on, so outstays its welcome for me. 11 – Finally back in my wheelhouse! Older (early-mid 70’s?, indy label?) cut based on sound quality. Rhythm section doing it for me, and I’m loving the Tenor player, who certainly sounds like Billy Harper! Also loving the trumpet, who sounds like Hannibal Peterson. And the piano solo works fine for me. Loving this cut, my favorite on the BFT. Don’t recognize it, but I need this if I don’t have it! 12 – I don’t want to like this, but I do. Bass player’s delight! Miroslav Vitous? 13 – Well, tomorrow never knows, does it? Interesting rendition. Great BFT, thanks! 2,3,4,11 all huge winners for me which I need to own! 1,9,12,13 also winners for me. Quite a fine batting average!

I subscribed to the series and am fine being patient. They are a very small operation, clearly in it for the love of the (glorious) music rather than for money. Very pleased with what they've released so far.

And 100x better than the Five Spot atrocity Mal Waldron had to wrestle with on those Eric Dolphy albums.

I'm good for my usual December, so I can continue to be Dan's place setter.

Some pieces - Riverside filed for bankruptcy in 1964 following label co-founder Bill Grauer's death (and accusations of cooked books), and ABC (who already had Impulse) acquired their catalogue (except for those Cannonball masters he took to Capitol - a whole other story). ABC reissued some Riverside titles but I'm not aware of them recording new music. Orrin Keepnews, the other co-founder, had started Milestone by 1966. By 1970, Bob Thiele had moved to Flying Dutchman and Impulse was concentrating on releasing albums by people like Pharoah Sanders, the Coltrane's (lots of posthumous releases + the Alice albums), and Archie Shepp, not Bill Perkins. At that point, Michel seems to have been running Impulse, but putting out a Perkins album would have seemed out of synch in a way it would not have in 1966 (when Impulse was still releasing albums by older musicians such as Ellington and his sidemen, Milt Jackson, etc.). The Perkins album may have been recorded for Impulse, shelved for whatever reason under Thiele, then when Michel took over, he wanted it released, but Impulse was not the right label for it, and it got shuttled off to the other ABC Jazz label, the barely breathing ABC/Riverside. In 1972, Fantasy bought the Riverside/Jazzland catalog, and did good work with it for years before Concord bought the catalog and desecrated it. Just speculation on the path of the Perkins album, but it seems to make sense. BTW, I've never heard the album. It looks good, is it?

A lot of excitement about this one, also discussed here:

I really like that one despite the sound quality (and it's certainly listenable). A Jazz Mesengers group with Billy Harper, Julian Priester, and Ronnie Mathews is quite a valuable document, and I'm glad Blakey was trying some advanced sounds.

Thanks Mark, interesting BFT! All of the cuts were new to me, though I'm familiar with some of the payers (Harriott, Beckett, Rendell/Carr) and compositions. Great to have you onboard, and I hope you enjoyed the experience!

Up for Pre-Order on Amazon. Release date Nov. 29 (my birthday - great birthday present!).

Utterly thrilling news, can't wait!

LOL! BTW, more info, Nov. 22 release date, 2LP/2CD, Zev Feldman involvement along with the DeJohnette's. https://forums.stevehoffman.tv/threads/forces-of-nature-live-at-slugs-tyner-henderson-1966-nov-22-2024-blue-note-release.1210470/

In for that BN for sure!

Acrobat does an excellent job of laying out discographical info. I tend to prefer them to Jasmine, but both do well in audio terms using the standards of European PD labels and the age of the material. You won't go wrong either way. I do believe Acrobat discs are CD-R's at this point. I have not purchased any Jasmine product in several years, so can't speak to that aspect of their discs.

Did it get radio play in Chicago?

Thank you! Very different from each other, they each have their charms, but "Drunken Boat" is the one with the magic IMO.

I like that A side for what it is (I'm a huge fan of 60's American Psychedelic music) , thanks for the link. Wish there was a way to hear the B side, and a realistic way to own them in non-vinyl form.