Rooster_Ties

That sounds great!!! Man, I love really niche deep-dives like these.

Believe so. I’ve seen numerous other folks mention it in a number of different Reddit threads — never with anyone ever refuting it — so that all but proves it to me.

Lived long, and prospered. RIP.

Hoping for all positive things as you face these circumstances.

Any word from Jamey?

Thanks Jim, 1964 is definitely more believable. Still may be the earliest known version of the tune, I’m guessing — which is still interesting. BTW, I changed the thread title to indicate that — far as I could see — all the issues of the ‘Again’ version credit Max as the songwriter (clearly its Jordan’s tune through). Given the history of the various releases of Again, it’s not too surprising to see a miscredited tune — but I do wonder if “This Night Mountain” was perhaps its original title? — anyone know? Thanks! I don’t think I’m finding either of the tunes with the Turrentines on any other Max live releases from around that time (or any other time) — I wonder if this ‘Again’ release uniquely(?) documents them among all other Max recordings from around that same time.

I saw that in the notes on the Discogs listing for the Fuel 2000 Karbouda issue — and wondered if it was a typo (or maybe not). I sampled most of the Charly Mop Mop version on Pandora this morning, and the non-Turrentines tracks seemed to me to possibly(?) be from different concerts? Was out on a walk at the time (with some traffic noise my earbuds were competing with), so I wasn’t entirely sure. Overall, how is that Fuel 2000 version? I’m tempted to buy a used copy, but on the fence. Everything EXCEPT the 2 Turrentine tracks and that supposed early version of “Higher Mountain” seemed kinda like a mixed bag — maybe not all of it, but definitely some was of less interest (at least to me). Still half-tempting though. Worth getting? The two long tracks with the two Turrentines+Priester did sound pretty interesting.

Was sampling Max Roach’s Again online (to decide whether to purchase) — which most issues/reissues of it claim the live tunes specifically with Clifford Jordan are from around 1961. Here’s the root Discogs entry for all the various issues of it over the years… https://www.discogs.com/master/299560-Max-Roach-Max-Roach-Again It’s been out under other titles too, as Max Roach Again (original release in Japan in 1971), but also as Live, Mop Mop, and Karbouda — all presumably the same material. Is this really one of Jordan’s best-known tunes, in a version that predates(?) by ~4 years the first(?) released/recorded version on Jordan’s Leadbelly album for Atlantic in 1965 — ?? Maybe it is — not really sure. What is the earliest known version of the song?

Not suggesting they got the audio from the bloglink below… …but your comment Chuck, got me doing a search late last night to remind myself of the particulars of the session — and low and behold, I found all three tracks can be streamed in full(!) on this Louis Porter substack page/article. https://lewisporter.substack.com/p/don-cherry-grimes-and-blackwell-music My goodness, those three tracks are SO good!! — and tantalizing for what could have been an incredible full album, if that had been in the cards.

From the official hype on that Amazon page, this portion is almost to be admired — if only for exceeding even Dusty Groove’s normally high standards for instilling excitement in the reader/potential-customer… > Side two contains ultra-rare, never before issued live tracks recorded in 1951 at Lindsay's Sky Bar in Cleveland, a venue where few, if any other tracks survived. Featuring band members drummer Roy Haynes, trombonist Jimmy Knepper, pianist Walter Bishop Jr. and bassist Teddy Kotick, these sides have never been available or heard in any capacity. They are the stuff that ornithologists "dreams are made of"--not only for their rarity, but for their quality.

Gosh, I’ve heard rumors about this for decades — or reports of it (it’s been I long, I forget which). Will have to try and digest a little tomorrow and over this week. ”Driving South” in 1969 too — that’s certainly unexpected.

Can you share a list of those sessions / or the cd sources you used (presuming you sourced them from several different CD’s, I’m glad to sort out which sub-parts of each cd includes both / or just the track-listing? (Whichever is simplest for you — I’m glad to do a little legwork to expand whatever you can provide to get to the total picture.) I’d love to try and recreate that same homemade compilation cd, as you did.

A couple weeks ago I just found (and bought) a nice used copy of this very 2cd set, the one with all the alternates. The discs clock in at 73:20 and 70:37. Other than that the alternates are sequenced right after each other on the 2cd set (not at the end of each ‘album’) — I haven’t a complaint in the world about the 2cd set, which I’d been looking for a good copy of for several years. (And I kept seeing a battered, overpriced one at Euclid Records in STL that I was tired of always wishing was cheaper, and in better condition). So I was thrilled to find a minty one here in Pittsburgh for a couple bucks less too.

(Take 4)

My wife and I saw Inception last night — for the very FIRST time for either of us. And both of us knew next to NOTHING about it going in — other than over a decade ago I’d seen just a little footage (possibly just the trailer) of the skyline of one or more cities distorting and being ‘folded’ (and that’s it). I’d even forgotten all traces of who was in it, that Leonardo DiCaprio was the star — and I’m pretty sure I never even knew Joseph Leonard Gordon-Levitt was in it too (JLG being a favorite of mine, at least in the handful of other things I’d seen him in before). AND, we saw it on the single BIGGEST screen in all of Pittsburgh — the 71x39 foot IMAX-style theatre at the Kamin Science Center (down near the stadiums) — and we got there way early, and got perfect seats dead center, with hyper-raked ‘vertical’ seating that allowed us to be in a row literally half as high up as the vertical center of the screen too — so dead-center in every way. I’m not sure if I’ve had a more riveting and exciting moviegoing experience in my entire life (hyperbolic as that sounds). And on top of maybe the most top-notch way to see a movie — the actual movie was an delight too… a wild, wild, wild story and narrative — and an insane premise, that was incredibly exciting to try and follow — and a premise that (by its very nature) allowed for a HUGE amount of (very necessary) suspension of disbelief. And yet, any/all of the little visual details that might have otherwise had me handwringing at every turn — the PREMISE meant that none of that stuff had to actually be ‘believable’ per se. Anyway, it all made for an exciting evening — and I felt both literally high on adrenaline for a couple hours after, but then the movie itself also tickled parts of my brain that often don’t get agitated that much (in a good way!!) but maybe 3-4x a decade. Truly epic, incredible storytelling, and a damn good film too (incredible cinematography!) that really stretches one’s own imagination (or certainly did mine). I had quite vivid dreams last night — with no specific narrative details (at least not that I could remember) — but I definitely remember dreaming of wild, crazy cityscapes in one way or another. Quite a psychedelic experience overall, between the film itself, and the optimal viewing venue — and my nearly “altered state” afterwards, induced solely by seeing the film that way (I think the last alcohol I had was maybe 1 drink 2-3 weeks ago, and I don’t even do nicotine, let alone anything else, and never have). Highly recommended!!

It has certainly been done that way in some circles… …“and then some!!” — even including live performances not known to have been recorded, or certainly not confirmed to have been)… …and much appreciated by myself and others! https://jazzdiscography.com/Artists/Henderson/index.php > This ongoing project has outgrown the standard "discography" label. What this work represents - as accurately as possible - are the documented live performances (recorded and not recorded) of tenor saxophonist Joe Henderson. Exhaustive research of hundreds of newspaper articles, jazz magazines, journals, websites, and interviews has led to the creation of this larger "Gig-ography." Henderson's recorded career spanned from 1963-1998. https://jazzdiscography.com/Artists/Henderson/JoeHenderson.php

I might be pretty tempted to get this if it was on CD — but I don’t do new vinyl (and I buy old vinyl only sporadically).

Yeah, no new vinyl for me either (never have, not gonna start)… …and least of all if there’s a subscription involved, or membership fee, or some ‘club’ nonsense.

I think there was one (just one) previously unreleased studio track on the Milestone box: “In The Beginning, There Was Africa…” (from the Canyon Lady sessions). But other than that — no other extra material (live, or studio) that wasn’t previously on all of the original albums.

First track in full. Hot damn!!

What’s your take on EOTH? I haven’t listened to it much in years — but early, early on in my jazz listening (circa 1991-92, because I can remember which apartment I was living in at the time, back in college)… Early on in my first 2 years of jazz listening, I somehow stumbled on a copy of EOTH (probably because my uncle had talked it up to me as being a wild ride). I had NO idea what to make of it, but I listened to it quite a bit off an on for a couple years — and much of it wormed its way into my head. I maybe drag it out twice a decade now, but it always takes me back to that time (and place). The one time I heard Carla live in DC not too long before her passing, iirc, I was lucky enough to have her sign my copy of the EOTH cd booklet. I’ve heard maybe a half-dozen other Bley albums over the years, and whole I’ve always enjoyed them — I never found them engaging enough (at least for me) to really make be want to go even further into her catalog — but I’ve always had a lot of respect for her.

Ding, ding, ding!! — Eurasia is my favorite too, and the one I’d kinda hoped someone would nominate as a possible ‘critical’ favorite (in the absence of anyTime Out). I think It hangs together (as an album experience) the best of any Brubeck album I know. It’s not unknown, but ought to be better known.

Here I am thinking so far you’re all wrong, because nobody’s suggested my favorite Brubeck album yet. But I guess I can give it another day or two before I mention it, to give you all a fair chance to get it ‘right’.

Maybe it’s the same album — or maybe it’s not. Pretend Brubeck NEVER recorded any of Time Out… Which album of his would the PUBLIC best remember?? — or would he be “best remembered for” — in terms of collective popular public opinion over the last 40-50 years (not just what people “think today”). AND… Which Brubeck album might garner the most CRITICAL acclaim over the last 40-50 years? Hard to exactly suss out the difference between hypothetical ‘public’ (popular) opinion and ‘critical’ opinion in a “what if?” thought-experiment like this — but I didn’t want to necessarily assume that the same album would be picked for both questions. I’ll also preface the conversation to say that I never(!) owned any sort of copy of Time Out until just about 5 years ago, when I was well into my early 50’s — and prior to that, I only owned one or two other Brubeck albums that I picked up in my late 40’s.

No frills is putting it mildly. No personnel listed, and not a single word of liner notes. Booklet isn’t even a folded over sheet — it’s just one thin (square) piece of paper with a repro of the cover on one side. I guess I should be thankful the song titles and writing credits are on the back. Oh, and it’s a CDR too. Hell of a good album, though.