Rooster_Ties

AMEN!!! I'd pay a premium price for it too (up to a certain point). I've been looking for that Waldron/Hino "Reminiscent Suite" date on LP for ~5 years now, but have never seen a copy for less than about $80, iirc -- but I'd really prefer to have it on CD.

I often feel the same way about the Elvin box, the farther towards the end of it that I get. That said, at one point I realized that if the albums covered on discs #6 & #7 (with Jan Hammer, and the like)... ...I realized that if those very same albums were by somebody else, and some really obscure label -- I'd probably value you them a little more (and probably even like them a little more too). I mean, there's a ton of oddball 70's stuff I really love, and those last few Elvin BN dates fit right in that bag, stylistically -- along with some of the lesser-known Strata East dates, and the like. Which is to say that my expectations going into them definitely colors the experience of listening to them for me -- so recalibrating my expectations has helped me appreciate those dates a little differently (and more too). FWIW, my favorite date on that entire set is the one with Lee Morgan, in a rare piano-less "Ornette" quartet setting (rare for him, anyway).

Wayne with Horace Silver? That's a new one on me.

I don't have a link handy I'm afraid (on mobile in an airport currently), but I recently re-purchased 3 of the 5(?) (or was it 6?) Hino TAKT titles that I previously only had as very nice quality on-demand CDR's (purchased ~4 years ago from CDJapan). I just don't trust CDR's to last more than about 10-20 years, and these albums are too great to take a chance on. But nearly all the Hino titles that kicked off this thread are entirely new to me, and I plan to order all of them in the next week or two. Honestly, if push really came to shove, I might very well rank Hino among my top-10 all-time favorite trumpeters. Not always, but he's often shockingly good. Certainly sometimes in the same league with the likes of a Woody Shaw, imho. And a few of these new TAKT reissues also have 1-2 bonus tracks, adding a bit to albums that were unfortunately around 35-37 minutes each originally. Hino might just be the most underrated trumpeter ever, at least in the US. Perhaps he's better known and appreciated in Europe - ? In any case, I'm thrilled to be picking up all this incredible material -- the first big jazz buying binge I've given myself in years.

Wasn't there some previous rubber band related record store day release six months ago or sometime in the last year? Or am I misremembering early hypefor this one? Also, weren't there several rubber band tracks released on the aborted six CD set of complete Warner Bros. recordings? I think it got all the way to the promo stage, and CD-R's of the six CD version were sent out. But then when it came out in stores, it was only a four CD set. In other words, what are the total number of rubber band tracks, or rubber band related (updated/remixed) tracks, that have been either issued, or send out as promos for something never (or not yet) issued?

Give me a full-length CD of the sessions, including some remixes, and I might bite. But this piecemeal crap is for the birds. Modern remixes don't bother me, but I'd prefer if they included the original, contemporaneous versions as originally intended, warts and all.

Sure does! Had no idea of his DC connections. BTW, up until just this last year, there was a full-time all-Bluegrass FM radio station here in DC (public radio, but oddly enough, *not* down at the bottom of the dial). It was a vestige of what became DC's main NPR affiliate in the early 70's (when NPR was first founded), but its Bluegrass origins go back to at least the 1960's. Then when WAMU became more of a traditional NPR affiliate, they found another frequency on the dial and programmed Bluegrass Country (as they called it), 24/7, iirc. I think(?) it may be internet only (or maybe on HD-radio, or whatever that's called these days). https://current.org/2017/05/bluegrass-fm-signal-in-washington-d-c-suburbs-will-go-off-air/ In any case, there's a LONG history of country/bluegrass here in and around DC, or so I've gleaned in my few years here. Doesn't take too far to get out of DC before you really are halfway into more rural (and rural-minded) environs. Western Maryland, West Virginia, and non-suburban parts of Virginia are barely 60 miles from the heart of DC, and even less from the close-in suburbs. Interesting that Clark also spent some time in New York City as well.

Sounded pretty good to me, frankly. The whole thing clocks in around 110 minutes, and would make a great 2-CD set. Also, based on the sample, the track "A5" has Nathan on soprano, and man does he ever have just about THE sweetest, most precise soprano tone and intonation of just about anyone I've ever heard. I wouldn't want a whole album with him just on soprano, but a track (or two even) would not be unwelcome. Nathan plays soprano about as 'beautifully' as Eric Dolphy played flute. Remarkable.

Me too. Looks great! Shame it appears to be LP only.

Does anyone have an alternate link? This one goes to a paywall, I'm afraid. Thx!

Well, physical copies certainly won't disappear. But I don't trust that everything that's currently available to be reliably available forever. 80% or more, yes, probably all safe (so maybe my 20-30% is a bit high -- maybe it's more like 10-15%). In any case, it's not some NON-trivial small number of recordings (like 2%). As Jim eluded to before, companies come and go all the time, and so do agreements. Not, not most of them (I realize), but who's to say that something semi-obscure won't be in the next batch of stuff that doesn't seem to be "accessible" any more, for whatever reason. I agree, the great majority of "popular" jazz recordings will probably be accessible via streaming for decades to come. But how much stuff that has only ever come out on CD once (or maybe twice), might either never be available -- or maybe be available for a time, but then in some huge acquisition, be easily excised because the costs don't outweigh the benefits. For instance: How many movies and TV series have been on Netflix for quite a number of years, only to disappear. I'm not on Netflix, mind you, but I've read about that numerous times (meaning a couple times every year, for several years now). It's not boatloads of material, but it's not a non-trivial tiny amount either. It used to be a really good, art-house-oriented video-rental store would have TONS of films that I understand only a fraction of which can be streamed today. Maybe 75% of all of Hitchcock's sound-era films can be streamed today (I don't know), but it was just 28-ish years ago that I remember going around to every video-rental place in the small town where I went to college (population 30,000), and collectively in that tiny town, I personally binge-watched 80% of Hitchcock's sound-era films, JUST FROM WHAT WAS IN THE 5 VIDEO-RENTAL STORES IN THAT TOWN OF 30,000. In a much larger city (back then), I could have probably rented 90% of them, I'm betting -- which is probably WAY more than you can stream on-line now. The music holdings owned and license by huge conglomerates stand the best chance of "survival" -- but that still leaves a ton of lesser-known stuff, that's more likely to get the axe at some point or some of it, at least). How about Charles Tolliver's or Billy Harper's great 70's recordings? Most of Woody Shaw's studio dates are probably safe (most were on major labels), but how about all the live stuff? - and there's TONS of *live* Woody Shaw, close to a dozen CD's (give or take, hell it might be 14-15, I've lost count), just off the top of my head -- but most of THAT hasn't been on majors. Maybe my CD collection is overly obscure, but off the top of my head, I would fear a disproportionate part of it (maybe 25%?) might easily never be on any streaming services, or be available for a time, with some portion of it suddenly disappearing at some point. Yes I'm pulling numbers out of thin air, but I'm deliberately NOT trying to be hyperbolic and suggesting the majority of the 3,000 CD's I own would suddenly disappear from streaming services. But you can't tell me with any certainty which part of it will disappear (on-line), and I do think some of it will -- and which "some" is the big question nobody knows.

Wild guess.

That's my concern too, Jim. I'm sure 70-80% if what you can reliably stream now will be reliably streamable years from now. But there's no way to predict which 20-30% will suddenly disappear at some random point 5-10-15 years from now. And given my luck, a higher proportion of the more obscure stuff I value most will be among the losses. I don't stream stuff now much, or only randomly (and from YouTube mostly). But if I moved over to relying more on streaming, I might more easily give up my physical copies of certain artists (on certain labels), than others. Like Monk on Columbia, that's probably (safely) gonna be around forever to stream. Same with Booker Ervin on Prestige. But there's no way I'm gonna get rid of any of my Terumasa Hino CD's, cuz I can't imagine all that much being available now, and then what is, could easily be gone in X years. Likewise, there are any number of pivotal 20th Century classical works that I don't really listen to but a time or two each year -- "Quartet for the End of Time" for instance (or Schoenberg's string quartets) -- that I'm pretty positive I can stream somewhere or somehow (forever). But some more obscure stuff (with only 1 or 2 released recordings in the CD age), I'm not turning loose of that stuff on physical media. Everything's probably case by case. But yeah, I could probably see reducing my physical collection by 1/3rd without too much worry. But half of what I have, I would seriously doubt I'd have reliable access to (via streaming), ad infinitum.

Also just bought something from Scott too, a small Select-size box, and it came perfectly packaged as well (and in perfect condition) - and fast. No reservations, would purchase again!

Look forward to that book!! Especially the coverage of the 60's and 70's -- time periods often given shorter shrift in some books (or that was certainly the case 20 years ago, anyway, but maybe less-so now) When is the book coming out? I'll most definitely want one!

Other than Maria Schneider's, aren't (and haven't) true jazz "orchestras" been more of a European thing?? -- thinking back as far as the 1960's. (Owing surely to better state-support of the arts on the other side of the pond.)

Where do university-level ensembles (jazz orchestras vs. big bands) fit into this? By which (I suspect) where there are universities with jazz orchestras (if any), if so then I'm sure there's probably a bit of a more distinct distinction -- though I'm not knowledgeable enough to guess precisely what that difference is. With NON-collegiate groups, though, I'm sure there are marketing considerations at play -- as in the demographics of target audiences, and such.

Here's what's in the liners about the other Hasaan recordings that may be coming out (all the text is by Marsella)... ...Without any other recordings of Hasaan I was worried about just re-creating this one album, and then John [Zorn] sent me some unreleased material of Hasaan's that included a rehearsal recorded for the Max Roach session. (This fascinating material will be made available soon in a box set compiled by Alan Sukoenig and Lewis Porter and is highly recommended.) It was through listening to these recordings that I started to really understand what Hasaan was about, especially harmonically. Hasaan extensively used dominant sharp eleven chords (much like Monk) but moves them even more chromatically than Monk... ...Another outcome of listening to the rehearsal recordings were the ways in which he treated his own thematic material---that is to say, that he always seemed to be extrapolating from the written notes. He never played a melody the same way twice. And here's a tiny bit about the drummer (Anwar Marshall)... ...I immediately thought of Anwar Marshall, an incredible young drummer from Philly that I had known from his playing in the Philly group Fresh Cut Orchestra, co-led by Anwar. And his entry in Discogs... https://www.discogs.com/artist/3383094-Anwar-Marshall

I got this in a shipment from The Bastards last night, and it is pretty darn spectacular (says the guy prone to hyperbole at times, I realize). Still, I can't imagine a project like this having turned out much better. All 7 of Hasaan's originals, plus one new tune very much in the same style, by Marsella. The liners say there's some unreleased archival Hasaan that's coming out as some sort of box set, including rehearsal(s?) for the Roach/Hasaan trio date. And (I think) maybe a bit of solo-piano too, that I presume Roach recorded. I'll have to type up the relevant part of the liners about it tonight. Instant pre-order for me. These tunes are so strong, and the original album is such a cohesive statement -- and this new interpretation is very faithful to the spirit of the original, without mirroring it too closely. Drummer is really quite something too -- there's bit about him in the liners too (not lots, but he's also from Philadelphia, as is the entire band). Had no idea Zorn was behind this. Very unconventional writing, but not at all off-putting. My wife loves this (both the original, and what she heard of the new one last night), and the Valdo Williams album too -- and a fair bit of Mal Waldon late 60's/early 70's studio dates (that don't get as long in the tooth as his many live trio recordings), which seem to get at some of the same thing. The world needs more piano-trio recordings like this. Not hundreds more, I realize, but at least a few more.

I've got both those Dave Douglas albums, and I totally agree.

Is kind of curious, especially for the CD issues of previously LP-only (pre-CD) dates. I mean, not that every session would have had alternates or outtakes, but you'd have to think that at least a few of them would.

While not a quartet, I think Albert Mangelsdorff's three piano-less 5tet albums from the mid-60's have quite a bit of Ornette influence, to my ears... Tension (CBS, 1963) -- aka One Tension. Now, Jazz Ramwong (Pacific Jazz, 1964) Folk Mond & Flower Dream (CBS, 1967) Those first two from '63-'64 especially, both in the writing, the concept, and overall sound (though admittedly, the group isn't anywhere near as 'gutbucket' as Ornette). Still, I think the influence is clearly there. FWIW, the 'clean'(er) sound (tibre) of most of Tension & Now Jazz Ramwong is especially appealing. Not that I have any issues whatsoever with Ornette's sound -- but it's also lovely to hear some of Ornette's ideas filtered through a slightly more orderly outfit, such as Mangelsdorff's. If for no other reason, than I can play either one of those first two Manglesdorff albums when my wife's around, and it won't ruffle her feathers like Ornette would. Tight as a drum, and they do go a little out here and there - a really a nice mix. Wish there were more groups with Manglesdorff's 60's concept -- or maybe I just wish there were one or two more actual Manglesdorff albums (maybe from '65 & '66), before he went further out (which I also like, and have a bunch of from the later 60's and early 70's too. By that point, I think the Ornette influences are less obvious and certainly less overt.

https://www.npr.org/2018/11/03/663895387/roy-hargrove-grammy-winning-jazz-trumpeter-dies-at-49?fbclid=IwAR1-vND_iFWOZjU8hl36KhxUPgrYXOKehT7qqzS90OKZZ4fTcYGX2tz4GW0

Nothing confirmed that I've seen yet. Just saw this parallel thread moments ago, which was the first I'd heard... http://forums.stevehoffman.tv/threads/roy-hargrove-rip.785136/