Rooster_Ties

I have a copy of this on the way from The Bastards, in an order placed 2 days ago. Then NEXT, we all need to lobby this Brian Marsella chap to remake the Valdo Williams Savoy album. (I'm not kidding either.)

I tried Google with "Organissimo.org" + every combination of bird or parker, diz or dizzy, and "town hall" (in quotes) both with and without uptown. 6-8 different search combinations, hit the "show similar results" button at the last page of each search, and went back through 10-20 pages of each different search key combo, and got nothin'.

Thank you!!!!

There was a really long, and wonderful thread here eons ago, all about the discovery of the Diz & Bird Town Hall material, and some folks here who got to preview it pre-release (well before it was issued, iirc). My Googling cannot seem to call it up -- can anyone else find it? Had to have been 30 pages long, at least. LOTS of great commentary about the material, and historical import of it. How the sides were discovered (at least some semi-revelation of that info, though some cloaked in secrecy probably still to this day), etc... Can anyone else find it for me? Good times!!

I never really "made the switch" so much as by the time my tastes moved so strongly towards jazz (circa 1989-1994) -- by that point it became *infinitely* easier to find the music I was into on CD, than it would have been to track down on LP. And especially when I first was getting into jazz in college, because I was limited to occasional weekend trips to St. Louis (or Chicago) - both 3-4 hours away. The college town I was in was a population of 30,000, and they only sporadically had even one CD or record store (off and on), maybe 2-3 years out of the total of 7 years I lived in that town -- and almost no jazz (no surprise). Davenport and Peoria were a little better (45 minutes away each), but not lots. So I went on big spending binges at Tower in Chicago, and Euclid or Vintage Vinyl (for CD's) in St. Louis. And even Best Buy(!) back then (early 90's) had a surprisingly decent selection of stuff - even a surprising number of Japanese imports even (for big names like Miles, mostly, but some others too). I can still see the LONG shelf of CD's I had in college and shortly after (maybe 8 feel long?) -- as it turned into two 8-foot rows of CD's, then 3, then 4 -- all in the space of about a year or two.

I've never owned a set, but have seen them for sale any number of times over the years. I remember seeing a nifty documentary about Robert Crumb back in Kansas City, probably 20 years ago. Interesting guy (putting it mildly). Wikipedia seems to indicate he's still among us! - age 75. https://en.wikipedia.org/wiki/Robert_Crumb

I got to college in the fall of 1987 (as I was born in 1969), and the first CD I ever bought (that fall) was Jimi Hendrix - Live at Winterland (1968). Didn't even own a player for 2-3 more years (though I always had roommates with them). I don't think I owned more than 50 CD's total by 1989 And I didn't really start getting into Jazz until the spring of 1989 (when I took a jazz history course for fun) - and only really in earnest over my Junior Year ('89-90). Primarily getting into Miles' Columbia 50's thru mid-to-late 60's material -- and 1960's era Blue Note material (and especially anything/everything with and by Joe Henderson). I think I finally got my own player in about 1989 or 90. And I pretty much bought every Miles Davis (all eras) and 60's-era Blue Note CD I could find. I *just* got into Miles early enough that a lot of his back catalog wasn't out on CD yet in the US -- so I remember my first ever CD's of Nefertiti and Sorcerer were both Japanese Sony (which I found used up in Chicago, at Jazz Record Mart iirc). I grew up in St. Louis, but went to school a couple hundred miles north, a couple hours outside of Chicago - which I tried to get to a couple times a year when I could (hello Rose Records! - and later Tower). Oddly enough, I really have no memory of what my first jazz CD was (or even first 10 were), but I'm sure 90% of my first 50 jazz CD's were purchased used. But I do distinctly remember a few things, like getting about 8-10 Blue Note titles on CD ($10 each) that were in a box by the cash register at Jazz Record Mart, especially Herbie Hancock's The Prisoner, which was my very first time hearing it (probably only even vaguely aware of it before). But I very distinctly remember thinking: WOW, I didn't even know this was on CD -- and how in the heck is this a cut-out?!!?!!! I'm sure I'd bought quite a few CD cutouts by that point, but the very idea of something that was THAT interesting to me: late 60's Herbie on Blue Note, with Joe Henderson no less -- that something like The Prisoner had come out, and was already going or had gone out of print (circa 1991-92), really seemed crazy. How could something THAT important on BLUE NOTE go out of print in 4-5 years?? Here I am trying to get everything I can from that one little era (1960's jazz through and especially the late 60's, when things started getting weird) -- and stuff that had only just come out on CD in 1987, was already out of print by 1991-92? Holy shit!! That means I gotta buy EVERYTHING the second I see it, cuz if it came out 4 years ago, it might be out of print next year. Little did I know that there would be further CD re-issues of titles (I was young). But there has always been an urgency I've felt when finding certain sorts of titles, that I couldn't necessarily sleep on anything of the sort of styles that I really like best. I came to CD buying as my interests were expanding wildly in my teens and early 20's, to the point where those first 10 years of CD's (which I count as being about 1985-1995) -- almost NONE of my CD buying was in replacement of pervious LP copies I'd had before. Everything was new to me back then, and as jazz took root as my primary interest, I mostly bought everything on CD as I got into my first real job in 1994, and finally had some income -- and then I went crazy I bought way too much stuff over the next 5-10 years after that (half of it used CD's, though).

Me either, but there's like half-a-dozen things about his playing that puts him right up there for me. I mean, I really like the Bobby dates I do have on CD and LP (not a whole lot, actually - 2 LP's, and 2-3 CD's). But I've never felt the calling to go collect even half his recorded output. But as I said, there are so many things about his playing that I do really like -- it's funny I've never gotten as enthusiastic about him as even I might have expected. His technique is always stunning, but what he has to say with it seems to vary (live) in terms of how inspired he his. Not sure I've said it before in this thread (though I know I have elsewhere), but when I lived back in Kansas City, I used to hear Bobby 3-5 times every year (half the time, him sitting in with folks). And he ALWAYS played at an extremely high level. BUT... ...BUT, sometimes you could really tell he was just phoning it in in terms of "ideas". I could never find any fault with how he played, but WHAT he played sometimes (more than sometimes) made it seem like he was on autopilot. Phenomenal technique, though (and I say that not thinking of him primarily as being a 'technician' either). I always wanted to hire Bobby for the jazz series I produced back in Kansas City (that I called "Jazz & Beyond") -- specifically backed by a really fiery bass/duo rhythm section (no piano, no guitar, just Bobby + bass and drums). Something to really inspire him to pull out all (and more) of the stops. God knows he could do it. I just never heard him play like that more than 3-4 times in the entire 5-6 years he and I both were in Kansas City (over 25 times hearing him in all sorts of contexts). SIDENOTE: I'm going to hear him this Saturday up in Baltimore, with Louis Hayes, and a bunch of first-call(?) local players [all of whom I expect should inspire Bobby quite a bit]. Looking forward to it, and hoping Bobby delivers. Fingers crossed.

Unrelated question, when did Steve Coleman get to be 62!

What about the mid-60's Danish(?) LP that purports to be a bunch of real red-hot Jazz musicians from the USA. And they're even pictured on the cover. When it's actually all European players, but the pic is literally four young-ish 20-something black guys they found on the street who all looked the part. And they handed them instruments, and had them pose like musicians for the cover... 'Cept the the trombone player CLEARLY has no earthly idea how to hold the damn thing. I can see the cover in my head (yellow and orange lettering?), but can't remember enough of the title to even google it. I'm sure half-a-dozen people here know exactly the one I'm talking about. "Something, something, something jazz from the US" - or words to that effect. Hillarious cover.

And Tina Brooks!!

Very well said -- something I was trying to get at (in what I posted above about him), but didn't know how to say quite as eloquently as you just did.

Thanks! Tardy always struck me as quite a muscular player, who wasn't afraid to push a bit more/further than many -- though without pushing too far. His playing didn't quite 'sing' for me a much as, say, Billy Harper's -- but generally it's in a somewhat similar region. Almost all my regular 'favorite' players are super-informed by Joe Henderson, but Tardy always seemed a bit more Trane-influenced (to my ears, anyway) -- Atlantic-era Trane specifically. Super nice, quiet guy - seemed very focused inward. I've spoken with him briefly at about 3 gigs, and he seems super thankful to be pursuing (and able to pursue) his craft.

I was really impressed with Greg Tardy (age 52 now) the 4(?) times I saw him back 7-15 years ago (before I moved to DC) -- and I think I've seen him twice in more supporting roles (here in DC), but in groups of more like 8-9 players total. Meaning he didn't get anywhere near the amount of solo time as when he was in Andrew Hill's band, or Helen Sung's, or another band I'm probably forgetting (or maybe it was Helen Sung who was in his band? - or maybe both, on separate occasions). I see (now) he has a TON of leader-dates on Steeplechase over the last 10 years or so, which I really ought to explore.

Off the top of my head, my two favorite tenor players who are still active are Billy Harper (age 75, but playing as well as ever, last I heard him maybe 2 years ago). And Gary Thomas (age 57), who was somewhat active in the Baltimore/Washington DC area the last 15 years or so (and I've heard him live about 6 times total, but always as a sideman on other people's dates). And he doesn't record anywhere near enough, not even as a sideman -- maybe 2-3 times in the last 15 years (unfortunately). Far as younger guys go, I have to confess that I haven't kept up nearly as much the last 10 years, as I did the 20 years prior -- and I'll be curious to see what other names are mentioned here (good idea for a thread topic). Ravi Coltrane is one I've enjoyed, but haven't heard enough of. He seems (or at least seemed) to come somewhat out of the sound of Joe Henderson (more than his father), which certainly accounts for my interest.

Here's track #5...

Here's tracks #3 & 4...

I'll be curious to see the artists represented, and track listing. I'm in no way a hip-hop aficionado, but if the price was right - I could see enjoying something like this from time to time. Saw on the Kickstarter that it's supposed to be 9 CD's (probably 11-12 hours?) -- which seems like it ought to cut fairly deep and wide.

Just discovered this via YouTube in the last 48 hours. What a date! Not really what I was expecting. Love the wordless female vocals -- well "love" is a little strong -- but I like where their inclusion takes the date to a whole 'nother sort of place (at times). Wish this was on CD (discogs doesn't seem to think it's ever been reissued). And Carter Jefferson really goes for broke. I mean, I knew he could play (from all those dates I have him on with Woody Shaw, primarily, and on a few other things). I think(?) the whole thing is up on YouTube, but not in a playlist (nor from the same user/uploader either). I'll try and post the whole thing here in this thread. Meanwhile, a couple discographical sources... https://www.discogs.com/Albert-Dailey-Renaissance/release/3107183 and... https://jazzdiscography.com/Leaders/DaileyAlbert-ldr.php Date: November 1 & 2, 1977 Location: New York City Label: Catalyst Albert Dailey (ldr), Carter Jefferson (ss, ts), Albert Dailey (p), Cecil McBee (b), Adam Nussbaum, Charli Persip (d), Cheryl Alexander (vocals) a. Black Raspberry (Albert Dailey) b. The Dues We Have To Pay (Albert Dailey) c. I Love You (Cole Porter) d. Mimosa (Dennis Irwin) e. Mr. Pogo (Albert Dailey) f. Gee Monetti (Albert Dailey) g. Autumn Rain (Albert Dailey) All titles on: Catalyst LP 12": CAT 7627 — Renaissance Adam Nussbaum (d) on b, e; Charli Persip (d) on a, c-d, f-g. And here's the first couple tracks...

Bring on 1982-92! (Volume 3) -- and in my lifetime, please. IMHO, a very underrated period for Neil's output.

Note to self to try and find this. And it's on Blue Note, no less... -- !! https://www.discogs.com/Trio-T%C3%B6yke%C3%A4t-Wake/release/574399

Don't act like you didn't catch them the last time they were at SXSW, at Opal Divine's in Austin!

So interestingly this includes the entire(?) previously unreleased Both Directions session(s?), incl. all(?) the alternates - ? On mobile, or I'd check for myself, but I think I'm seeing the entire thing, and presumably in session order too. Would not have expected to see a reconfigured release of the entire thing like that, quite so quickly. (Sure. repurposing a handful of tracks from Both Directions would not have been at all unexpected (as in some new single or double-disc came 'best of' compilation. But this isn't that, that I can see.)

A great date, and most of this album (rather than really being all ballads), is actually a whole bunch of solidly mid-tempo tunes. No burners, sure, but this is anything but a sleepy, languid date.