Rooster_Ties

Somewhere, I have just one individual Charles Ives stamp from this set, which I always intended to get a (tiny) simple frame for. Not sure where it got to -- I'm sure I bought it 10-15 years ago for about $4, when I stumbled across it in some collectibles shop of some sort.

I have an LP of Double Exposure, which is a relatively recent repressing that I got from Dusty Groove about 5-6 years ago. I seem to vaguely remember having some doubts about the repressing being legit (or not), but regardless -- it sounds good on my admittedly low-tech turntable and amp. I rarely buy much vinyl, but occasionally I'll have a moment of weakness, and get something on vinyl -- even though I have a strong preference for CD's.

Which is a shame, because it's a lovely and unique album. I'd pay $20 for a CD of Double Exposure, pretty gladly. Maybe $25?

Foster is listed as playing "Alto Clarinet" on the bonus session on the US CD reissue of "Manhattan Fever" -- and I think he only solos on it on just one track (the very last track, iirc). And I think(?) it really is a true Eb Alto Clarinet (between a Standard and Bass Clarinet). Here's the last track on the disc, and although the solo that starts a little after the 2:00 minute mark sounds a little high (almost like a Standard clarinet), I think in the ensemble parts it sounds more like an Alto to me (and certainly not a contra-alto). My memory of the session is that the only prominent "clarinet" (of any sort) on the entire CD is just this one track (last track on the CD, from the bonus session).

Honestly, I find this a little hard to believe. I think I've heard stories about the first incident (which I'm not sure I ever believed, which I realize doesn't mean it wasn't true). But then Max went and beat him up again back at his hotel? That sounds like pure apocryphal nonsense. I realize there isn't going to be "documentation" in the classic sense, but is there any truth to any of this with Max and Ornette?

He certainly plays, but he's always somewhat down in the mix, and less at the forefront of things (like Miles and Wayne are), and usually mixed in a way that's more about texture and/or a collective-improv kind of vibe. (Admittedly, I haven't spun Bitches Brew in a good year, so I'm going by memory.)

I played clarinet (badly) in my last 3-4 years before high-school. But one example of how bad I was, is that I never really learned how to "tongue" to start/stop the flow of air. I really just used my gums more. Like I had my bottom-lip up over my lower teeth, and then I clamped down with my jaw to stop the airflow. I never for the life of me could do it right with my tongue, so I was a lost cause from the git-go. I also played bass-clarinet for one of those years, and I tried to play oboe for 3-4 months, but I was even worse at that (Embouchure-wise) than clarinet, if that was even possible. And yeah, that register key not being a true octave key was a real bitch. I never tried saxophone. PS: I really loved playing bass clarinet, btw. The parts were more straight-forward, and more often about color (iirc), and a lot less playing above the break. I would have been content to have played bass clarinet a lot more exclusively (granted, I was maybe 11 or 12 years old at the time).

I've long thought about picking up several of the Francis Wolff books of jazz photography, but I've always assumed (rightly? - wrongly?) that there was going to be a LOT of cross-over between all of them - ???? What I don't need is 5 books, with 1/3rd to 1/2 of each book duplicated across more than one book. Our little 630 sq-ft apartment here in DC has got too much stuff in it already. Aren't there something like 4 or 5 different books of his stuff out there? I know of at least two not mentioned in this thread already (the second of which has a color-photo on the cover, iirc -- or at least maybe 30% of the photos in the book are color, from various late-60's sessions). So there's those two, plus the two in this thread. And isn't there a 5th one I'm thinking of? - but I can't remember enough about it to describe it. I'll have to do some searching on-line, and back up what I'm trying to say... EDIT: My point is that I would gladly buy one or two books (or even perhaps 3), if I knew there wasn't a ton of cross-over/duplication between these multiple Wolff photo collections that have been published. Anyone have any advice there?

I'd love to hear what Marcus Miller has to say about Maupin's contributioons to Bitches Brew, and those other early 70's Miles sessions. After all, Miller also plays Bass Clarinet in much the same sort of "textural" way as Maupin did back then -- and Miller also worked more closely with Miles in the 80's, than practically anyone after Miles' comeback. Besides Maupin himself -- if anyone had some special insights into Maupin's role with Miles, I'd expect it'd be Miller.

Agreed, but I will say that Ruth Underwood was one hell of a good player too.

A great interview with him, specifically about Miles. Just reading it now for the first time... http://www.thelastmiles.com/interviews-bennie-maupin.php And here's another good one too... http://www.revive-music.com/2010/12/03/bennie-maupin-the-stories-of-bitches-brew/

Bennie Maupin played on a total of 11 fairly long sessions for Miles in 1969, '70, and '72 -- all exclusively on Bass Clarinet. Has he ever commented much about working on these sessions? - and his role more as 'color' than as soloist (practically all 'color', iirc, right? - though some of it gets a lot busier than what one might call 'color' in a more Gil Evans type context, by way of contrast). Been a while since I've listened to much of this, but I also seem to remember Maupin playing down on the lower half of the instrument if not exclusively, then a heck of a lot more than above the register break (not exactly an 'octave' key, but it's that key that gets you into the upper register, which has a much different timbre). But no, Miles had Benny down on the bottom almost all the time, iirc. Very interesting creative choice, and one I rather love -- since I think the bottom half of the Bass Clarinet is one of the more interesting colors there is (in orchestral music especially). Can we talk about Benny Maupin's contributions to Miles' music, and I'd especially love to see if there are any Maupin interviews where he talks about that, or if anyone else has talked about it much either for that matter. Here are those sessions he played on, and I think these hyperlinks will all work. This is from the search results on "Maupin", from Peter Losin's wonderful site. http://www.plosin.com/milesahead/Query.aspx Date Location Media Ensemble August 19, 1969 Columbia Studio B, New York Commercial for Columbia Miles Davis Studio Group August 20, 1969 Columbia Studio B, New York Commercial for Columbia Miles Davis Studio Group August 21, 1969 Columbia Studio B, New York Commercial for Columbia Miles Davis Studio Group November 19, 1969 Columbia Studio E, New York Commercial for Columbia Miles Davis Studio Group November 28, 1969 Columbia Studio E, New York Commercial for Columbia Miles Davis Studio Group January 27, 1970 Columbia Studio B, New York Commercial for Columbia Miles Davis Studio Group January 28, 1970 Columbia Studio B, New York Commercial for Columbia Miles Davis Studio Group February 18, 1970 Columbia Studio, New York Commercial for Columbia Miles Davis Studio Group March 17, 1970 Columbia Studio, New York Commercial for Columbia Miles Davis Studio Group June 6, 1972 Columbia Studio E, New York Commercial for Columbia Miles Davis Studio Group June 12, 1972 Columbia Studio E, New York Commercial for Columbia Miles Davis Studio Group

Were there really any vibe-players of Bobby's generation, other than probably Roy Ayers and Gary Burton of course, that ever got much national exposure and name recognition? I can't believe no one has put up all the Downbeat reader-poll results for every year somewhere on the internet, but I did just find an image of the results for Vibes in 1975 https://scontent-iad3-1.xx.fbcdn.net/v/t1.0-9/34607_446952055350_4737393_n.jpg?_nc_cat=103&_nc_ht=scontent-iad3-1.xx&oh=e46c8afed6de8646691960664124beb5&oe=5D74847B In case that won't display, FWIW, here's the Vibes category... Vibes (Downbeat Readers Poll 1975) 2426 - Gary Burton 1390 - Milt Jackson 631 - Bobby Hutcherson 394 - Lionel Hampton 154 - Roy Ayers 140 - Ruth Underwood 116 - Cal Tjader 105 - Karl Berger 91 - David Friedman 67 - Terry Gibbs 56 - Red Norvo

You weren't kidding, Grant Green! I remember digging around on a related website quite a bit 15 years ago, this one... http://www.contrabass.com/pages/compendium.html http://www.contrabass.com/ ...and it looks like the basic webpage design dates back maybe 20 years (not that there's anything wrong with that!). A lot of these low-bass winds are really interesting, especially the more oddball ones that date back to before the 1920's, even back in into the mid-19th century in some cases.

Yeah, the biggest plus (maybe only plus) of Hendrix at Woodstock is that it was an outdoor concert filmed during the day (daylight hours). Musically it's really all over the place. I'll never not love hearing him do "Spanish Castle Magic", and "Voodoo Child (Slight Return)" is always pretty powerful, and the two very guitar-centric instrumentals at the very end (between "Purple Haze" and "Hey Joe") are pretty darn lovely. And of course the Star Spangled Banner is about as sonically iconic as it gets. But other than that, there's little about Jimi's set to write home about -- other than the chance to see some pretty good footage, with daylight "lighting" for a change. I wouldn't call it a 'group' either -- other than Mitch and Billy, of course. But the others just drag the whole thing down, more often than not.

Of the Roach/Rollins broadcast?

I'll bet the audio of this BBC performance might still exist. There's a couple Horace Silver 5tet things from that same "Jazz Goes to College Series" -- both from 1966 (iirc) -- that were telecast, and the audio (only) circulates in trading circles.

...and health benefits? That seems like an attempt to at least partially refute some aspects of the original claims. And yet, re-reading the original "outreach" message again just now (the one in the very first post), it seems possible that all of it is true (or largely so), even if Kenny does "remain a full-time faculty member, with related compensation and health benefits". I don't think the two statements are diametrically at odds. Not pointing fingers, nor am I making any wild claims about the aims or intentions of the Burrells, nor of UCLA.

I'd love to borrow someone's complete 38-CD set for a couple months, listen to it all -- and then I'd (probably) never have.. to or want to... hear practically any of it ever again. I hope it's possible to stream the whole thing in some way, eventually. But if I never get to hear any of it (beyond the Hendrix DVD that I already own), that's OK with me too. It'd be fun to hear a lot of the more obscure stuff, but I know I'd be tempted to FF through a bunch of it too.

Who else is known for wearing glasses? I think that's gotta be the key -- or at least I think(?) we can rule out people who Google image-searches don't turn up even a single image of said people (search keys) with glasses. For instance, I can't find even a single picture of Mal Waldron with glasses (at any point in his entire life). So as much as it could be him logically-speaking -- I just don't think it is (because of the glasses thing).

Don't think so -- or at least non of the pics of Hasaan that I can find on-line have him in glasses. But if it was someone who SOUNDED quite a bit like Hassan, but wore glasses, then here's your man: NOT that I'm suggesting it's actually Valdo.

Or based on the glasses, maybe this guy? (Who I'm not aware ever played with Max.) EDIT: This is Phineas Newborn, BTW. But I guess it isn't him in the mystery photo, since our esteemed thread starter hasn't chimed in to say it's him.

I was going to say the guy in this video, but the lack of glasses tells me I might well be wrong. If I'm RIGHT though (and they're one in the same), I won't mention who this is (in the video), just to keep the game going. And if I'm WRONG, then QUESTION #2: who can ID the guy on piano in this video?

So how does the EU system work in terms of stuff slipping into the Public Domain (PD), if it's more than 50 years old, and if it's NEVER been issued? And does WHERE it was recorded have any bearing on how the EU "PD" system treats it? Meaning does the EU system treat recordings made here in the US (that have never been released in any way), the same as unreleased recordings made in any of the EU member states? Like theoretically, let's say that there was a recording made in Englewood Cliffs, NJ on August 16th, 1968 (which is over 50 years ago), and it's never been issued. Could somebody release that in Europe, and would it be legal? Only theoretically speaking, of course. (I know this thread is about US copyright law -- but I've always wondered about how the new EU laws work, which I have an understanding of, but I'm not 100% I'm right about.)