danasgoodstuff

Yes, yes it was.

Konitz & Marsh own this category IMHO, starting with their work together with Tristano but especially this:

I think I read today that there will be an 8 CD version, presumably at a significantly lower price point. Still no more than a maybe for me - I have the 3 CD version, not sure how much I'm getting out of alternate versions, although I wouldn't put too much weight on 'rejected' notations made in the context of the original release intentions and reality.

Joined in March 2003, from the BNBB.

I think they could be an effective contrast, but they certainly weren't two peas in a pod - none of the name jazz advance guard of that period were, much less stylistic homogeneity than previously, so much so it hardly even seems like a style sometimes, but then the 2nd generation/2nd string made it one - this more or less happens all the time, but more here? Just thinking out loud now, not trying to be definitive.

I retired this year, just shy of social security full retirement age, you do the math. Old enough to be forgetful and cranky.

This, all of it. It's part of why Dolphy's early demise was such a great loss: he could take people with him to those places that Ornette was never going to get to come with him. Trane did that too, to a degree, but Trane & Dolphy went to different places. by different routes, different modes of transportation, etc. That, and he had places left to go too.

Edits are pretty undeniable, once you have a complete version to compare; but how do we know for sure they weren't just a little flat at one gig?

Wow!

Now having heard it, it might just as well (or better) be credited 'traditional'. It's about as readymade a blues as could be imagined, not that there's anything wrong with that.

Yes, but it's fine to mention it again.

Yes, and I own it. But it's a complete BN recordings from x date to y, a different sort of thing than I'm envisioning which would be a selective overveiw of his whole time at the label, including sideman dates, issued and unissued, telling a story of his career and the label's changes.

I think that Lou deserves a career overview box, or career on BN at least. Probably the most significant figure on the label to not have anything of the sort. sorry for the thread drift.

Lucky you, I'm seriously jealous. More Lou, more Grant, more Baby Face Willette!

So very happy to hear this. My mom is in a facility in Saskatchewan so I'm unable to visit her right now. I imagine many of the members here and their parents are in some variation of this situation. Very trying times.

All my best thoughts to you and your dad Lon.

I forgot to say, if you dig Jackie Mac, you should check out Arthur Blythe who made lots of fine recordings in the '70s, 80s and '90s and Darius Jones who has done so in this century. Both have a cutting edge to their alto sound that owes something to McLean. And while I agree that jazz needs blues and swing in there somewhere/somehow, I'm not sure Wynton knows what that means.

I own a fair bit from the decade, considered myself to be actively following, worked in two of the world's great record stores, but still don't have the sense of what happened that I do for the '60s. For instance the M-Base thing was happening but I only nibbled around the edges. So here are some '90s jazz albums notable to me: 1) Ask the Ages - Sonny Sharrock with P. Sanders, Elvin Jones, Charnet Moffet. All the beauty, all the ugliness, all the joy, all the hurt, all the stuff of life, as much as you can get it on an album. Produced by Bill Laswell. As good as anything from anytime, anywhere, IMHO, YMMV. 2) Have a Little Faith - Bill Frisell with Don Byron, et al. Doing Copeland, Sousa, Ives, Madonna, Rollins, Muddy Waters, Hiatt. Is it jazz? Yes! 3) Roots Revisited - Maceo Parker with Fred & Pee Wee from the JBs, Don Pullen on organ, Rodney Jones, Bill Stewart. First album of his comeback, the most obviously jazz-ish. 4) Blue Light Til Dawn - Casandra Wilson, most significant jazz vocal record of the decade? 5) Sound Museum - Ornette with Geri Allen who totally deserved the honor of being the first piano player he'd worked with in decades. 6) Hand Jive - Scofield with Eddie Harris, Bill Stewart. Groovy intelligent jazz. 7) Sound of Summer Running - Marc Johnson with Frisell, Metheny, Joey Baron. Lots of Collaborations in the 90s. 8) When Elephants Dream of Music - Bob Moses with lots of people having a collective hallucination. 9) Extension - Dave Holland with Steve Coleman, Kevin Eubanks, Smitty Smith. Holland became more famous and less interesting as the decade went along. 10) Sonny Rollins +3 Sonny Got generally better after his low point in the '70s. By this one he was back to great. 11) The Rent - Steve Lacy, live here in Portland, I saw this and knew the label owner. 12) Wish - Joshua Redman with Metheny, Haden, Higgins. A star is born? 13) Don Byron - Bug Music. This along with archival things like Hal Wilner's The Carl Stalling Project and Raymond Scott reissues marked Taking Cartoon Music Seriously. Joe Lovano and David Murray made tons of records and I often wonder why I bought so many.

OMG, there's a big question! All kinds of things happened, good bad & indifferent. Whether it all adds up to some definable 'jazz in the 1990s' thing, I don't know. I can certainly name a few albums that I love from then, and I'm sure some will, but one of the biggest things was reissues on CD that solidified a particular narrative about the jazz past, for better or worse.

Yes, in some ways the most unusual thing about that album. Many someone put a bug in Alfred's ear about how good Pete's tunes were? Or maybe it was something else. Or maybe they'd hoped to do more but things changed.

It is indeed lovely. And may have actually been intended as a one off, maybe as a sort of thankyou for his sideman work. Same with Art Taylor's one leader date for the label. apparently Joe Chambers was offered a leader date and turned it down. Both chambers and LaRoca did dates for the label decades later, but post-revival is really a different deal.

Perhaps they were able to work some kind of deal where someone on the BN roster did something for Prestige - those two labels had lots of overlap, did they not?

Buckshot La Funke on Louis Smith's Here Comes... BN1584 recorded for Transition in Feb 1958 a couple of months before Cannonball's Something Else. Something Else comes in-between Adderly's affiliations with EmArcy and Riverside. I have to think BN would've recorded him more if they could. This.

Where are his low notes recorded?

Again, I don't think he was available to do more, and they did use him as a sideman under an alias.