Rooster_Ties

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.)

The Musicians were literally in another room, where the music couldn't be heard at all -- so they had no idea what was playing while they were on break. I'm sure there was zero communication between the sound guys, and the musicians -- once they did their sound check. And it seemed to me that the sound-guy was utterly clueless. As I said, he literally said to me that everything at these kind of events was just "noise" to him, and he tunes it all out. He also seemed completely oblivious to the quality of the music as well. On reflection, I think it must have been some hot track off the Steve Coleman album with Vonski (Rhythm In Mind) -- and *not* the way more dense and M-BASE-sounding Strata Institute date. I'm also sure that the Spotify playlist was titled as a bit of a joke -- maybe EXACTLY for the purpose of programming something quite a bit more hard-hitting (but not quite TOO over the top) -- exactly to ensnare unsuspecting people. Just because I loved it, certainly didn't mean that I thought it was appropriate. And the way I framed my questions to the band, and especially to the sound guy -- was only because it really wasn't my business to be stepping on anyone's toes about anything going on there (completely NOT my place). I mean, the band, yeah -- I did tip them off that something was a little outside the norm. But the sound guy -- hey, he made his choice (uninformed as it was), and he'll have to live with the repercussions. I sure as hell wasn't going to try and right the course of that ship, especially since I'd been hearing what I done heard for a good 15+ minutes by that point -- and I presume the band would have been coming back soon, or some stage announcements were gonna happen soon anyway. It was loosely a black-tie event, though I think I saw a lot of black suits (and not as many tuxes) -- which seems to be more the norm these days, especially if the attendees have much of a contingent under 50 or especially under 40. I think the average age I was seeing might have been 45, in a spread from 35-60 (so somewhat younger than SOME similar events). I shouldn't mention the organization by name, but it was a nationally recognized health-issue-related non-profit, primarily known (all around the country) for their good deeds in fundraising for an excellent cause. It was a lively party, and I don't think anyone was "damaged" by the music. It certainly WASN'T electric Ornette, or Defunkt, or Dark Magus. So nobody got hurt, no harm / no fowl. Maybe somebody complained to the sound guy -- but like our esteemed Hot Ptah just said -- I doubt anybody was really paying all THAT much attention (probably not in the slightest). Cracked me up, though. And I'm glad keep following leads until I sort of figured out what was going on. Looked like a fun party -- more fun than most (that we get) -- and I'll bet they could have played some upbeat Red Hot Chili Peppers, and they would have liked it too, or even James Brown.

For an archival set like this massive 38-CD affair, they probably should have included those two tracks -- but I've heard 'em a few times, and they're nothing to write home about (to put it mildly). Thought I could find uploads of them on YouTube, but I guess they've been taken down (and kept down). No great loss, trust me. Lee's vocals were really pretty weak, and out of tune a fair bit too. https://jimihendrix.fandom.com/wiki/Gypsy_Sun_and_Rainbows Jimi Hendrix – lead guitar, vocals Mitch Mitchell – drums Billy Cox – bass Larry Lee – rhythm guitar, lead-vocals (on "Mastermind" and "Gypsy Woman") Juma Sultan – percussion Jerry Velez – congas Tofta-Janne – air guitar PS: "Mastermind" (from Woodstock) can be heard on this page: https://woodstockwhisperer.info/2016/03/07/guitarist-lawrence-larry-lee/ I mention "from Woodstock" because, believe it or not, there's a studio version of "Mastermind" too (with Lee on vocals), that Jimi leant his guitar to -- and it actually did come out (legit), on the Hendrix "West Coast Seattle Boy" box (nothing all that great either, though). PPS: And you can hear "Gypsy Woman" (from Woodstock) here...

I have the perfect jack-of-all-trades job, as the executive assistant to the executive director (and I also manage the activities of our Board of Trustees). I'm also sort of liaison between our Development staff/department and our board (which is unusually large, with about 50 members - when you include some of our active "honorary" trustees, and ex officio trustees from various other organizations). Second only to music -- Architecture (and design, urban planning, engineering, etc.) is probably my second favorite "arm-chair" interest -- so this is really a wonderful place to work (and most of the people who work here are great too). Even before I moved to DC from Kansas City, I'd been visiting the National Building Museum every 2-3 years going back as far as 1996 (shortly after I met my (then) future wife -- and then it was her job that brought us here to DC). I think I counted 11 trips to DC in all between 1996 and 2011 when I moved here -- and I visited the Museum on every single visit (save for when we came for Obama's first inauguration). https://www.nbm.org

I used to have Shazam on my phone -- but I still have an ancient iPhone 5 (with only 16 gigs of memory), and about a year ago I finally had to delete a number of apps to keep the poor thing going (including Shazam). One of these days I'll upgrade, but I just haven't gotten around to it.

So my Museum has this HUGE space that can host enormous large-scale events. The Pension Commission Building (where the Museum where I work is), was for 110+ years THE single biggest interior space in all of Washington DC, hosting Presidential Gala's going back to the 1880's, and until the basketball/hockey arena a few blocks over opened in the mid 1990's, was the single largest event space in all of Washington. So I wrap up work tonight a little late, around 6:30pm -- and there's a large Gala already in progress that probably started with cocktails at 5:30pm, and was going strong when I went downstairs to make my exit. So I come off the elevator, and I hear pumping through the large-scale sound-system for the event something that sure as hell sounds like (what I later realized) was one of the harder-hitting tracks from one of these two albums -- either Steve Coleman's Rhythm In Mind (1991, Novus), or maybe even Strata Institute: Transmigration (1991, Rebel-X) -- which feature none other than Von Freeman. All I know is the more I heard, the more it sounded like Vonski, and then Steve Coleman. or So initially, I thought I was hearing a real live band (the acoustics in our huge building make any kind of amplified music fairly boomy), so I roam around the perimeter of the room trying to find the band -- HOLY CRAP! - I'm thinking. What band is THIS??!!! So I finally find where the band is (or should have been), only to discover an empty keyboard, guitar in its stand, drummer-less drums (and maybe a bass). Band is on a break! - and the music is canned. So I'm just gobsmacked hearing his, for a semi-formal (big-dollar) Gala for some organization (no idea what the event is - we literally host 150+ such events every year, as 'rentals'). So as I wandered around the perimeter, I notice 4 young-ish (early 30's?) African-American guys in a back-stage area eating a bite (clearly on break), and I put 2 and 2 together, and figure they're the band. So I ask 'em -- "hey, love the music out there right now, is this some sort of playlist you've got piped into the PA?" And they know NOTHING about it. I tell 'em it sure sounds like Steve Coleman, M-BASE type stuff, pretty hard-hitting, and I was just surprised as hell to be hearing something like that at an event like this (even if I was diggin' it mightily). They know nothing about it at all, and look as perplexed as I probably did. So my curiosity gets the better of me, and I start roaming around again looking for the soundboard and tech operators. It's BIG production, with a huge stage and a fair bit of stage-lighting for the event. And I can't for the life of me find the soundboard anywhere - ? All this time I've been chatting up one of our security guards just inside one of the exterior doors -- one of our regular security guys I see every day when I come in the building -- explaining my semi-perplexed reaction to the music. Finally I'm about to give up, and go home -- by now I've been trying to solve this puzzle for almost 15-20 minutes. And the security guy says maybe the sound and lighting tech boards are on our second floor, looking out into the larger room. So I run up the stairs, and that's exactly it -- quite a large setup, 3 board-operators across all the tech, etc... So I chat up one of them, tell 'em I love the music, but what is it? I sort of suggest it's kind of wilder than I'd expect, but - hey - it's awesome. So the main guy says he'd have to look. Just some Spotify playlist he found called "Lite Jazz for a Dinner Party" (or something pretty damn close -- I wish I'd written it down exactly). And the guy said he really hadn't noticed, he really doesn't know music, everything at these kinds of events is all just noise to him anyway, he never really notices any of it anyway. I'm sure he just tried to find some "jazz thing" to play while the band was on break. And holy mother of god, I swear the next thing I thought I was gonna hear was something like James Blood Ulmer's Tales of Captain Black (with Ornette). Granted, I never did actually hear that -- but it wouldn't have surprised me. My entire 25 minute subway ride home, I had this crazy half-grin on my face imagining what the dinner guests might gotten the next time the band took a break.

I've seen it go for upwards of $200-$250 on eBay, and through Dusty Groove too. Not saying it ought to be worth that much, but supply and demand seems to have prices up over $200 with some frequency (actual sales, iirc). I got mine less than a month after it came out, with a "40% off one item" at Barnes & Noble (had to get it from an actual store, and it had to be something already in stock). Their list price was a little high, but at 40% off, I think I got it for something like $70, iirc. Sure as hell glad I didn't sleep on getting it at the time!! -- as is my normal practice all the time (most of the time).

Third Season is probably my numero uno favorite Mobley leader-date, with Slice of the Top a close second. I love Third Season so much that I did actually buy that Japanese reissue on CD (the one with the LT cover), just for that bonus track. Fantastic playing, but the arranging especially, is just divine!

I'm not really sure yet. A week or so ago, I went as far through the ordering process up to the point where (I think) it wanted my cc info (which I didn't have handy), so I'm just assuming there might be some savings - but I'm not really sure yet, to be honest.