Rooster_Ties

When you get it, report back! And as long as I'm here... Track #1: "Isis Unveiled" - which kicks off side 1 (all 'live'). As with most of this album, it gets incrementally more interesting as the whole thing unfolds. (Which is to say that the tenor-solo really gets going about 2-minutes in.) I like how the tenor player just keeps adding more heat, bit by bit, until things are a whole lot hotter than you expected a few minutes earlier. Then they slide back into the theme near the end of his solo, very gracefully. The transitions in intensity are very well thought out and executed, and land on these ears damn nicely.

Me too! (Re: "Chili Peppers") Great arrangement! And though I'm normally not a big fan of soprano sax, I thought the soprano solo was really outstanding. Almost the quality of a 'Nathan Davis' on soprano (I thought).

Even if the license ran out, they would have been permitttd to sell all the stock already pressed. I'm mostly nearly positive that the contracts wouldn't have forced them to destroy already existing inventory simply because the timer ran out. (Or I'd be shocked to learn otherwise.)

Great concert!!

Other than Hank (obviously), I think I was aware of most of Tolliver's history with every name on this list from his website -- except for Sonny Rollins -? Not disputing it, but when did Tolliver and Rollins work together?

Tolliver? Maybe, but I'm just not seeing it. Also, when did Hank and Charles Tolliver ever cross paths? If they did, that'd certainly be news to me.

We should all email them about when we can pre-order the Barron set. I'd certainly get one!

I did not realize until I just noticed in his Wikipedia bio, that Gary is no longer at the Peabody in Baltimore... Peabody Institute’s Gary Thomas resigns – and fans and students lament Questions about the future of Peabody’s jazz program swirl as its celebrated saxophonist founder leaves... https://baltimorebrew.com/2017/10/16/peabody-institutes-gary-thomas-resigns-and-fans-and-students-lament/

Here's track #4: "Guardian Angel" (the second of the 3 studio tracks on the original album)-- which starts a little slow, but really get's going around 1:45 and 2:00 -- slowly but surely the tenor-player's lines start spinning out around 2:30. A really lovely track, and I just love this guy's (the tenor's) playing throughout. I like that he takes his time, but he always seems to know where he's going.

I'm planning to be there too. Glad I saw this thread! - or I would have probably missed it.

I can't be the only one who isn't 100% sure of the other two either. Hank & Donald are my guesses, not looking at other pics to confirm (or deny) either supposition on my part.

Jeez, it really is just those four (4) -- and no Miles nor Trane. I guess I was remembering six (6), because I must have always THOUGHT there should have been those particular two more (they'd never do one for Ornette, arguably the 7th I'd think worthy of similar treatment) -- but it's a crime that Miles Davis, of all people, has such minimum representation in what purports to be 'The' American Museum of Jazz. (And Trane too, for that matter.) Nothing about the history of labels, or much on various regional variations (I don't really remember anything about West Coast jazz, for instance). Everything is scattershot, and pretty thin. One other thought: the level of depth (overall) in KC's jazz museum pales in comparison to even the Negro Leagues Baseball Museum -- which is housed in the same complex.

Seeing this, I'm remembering that I (finally) found the 1987 McMaster version of The Prisoner on CD (remaindered, maybe?), in a small box of of about 20-25 OOP Blue Note CD's by the cash-register at Jazz Record Mart -- in about 1991 or so (I got up to Chicago once or twice a year back then, when I was in school about 3 hours away). It was the very last Herbie BN leader-date I *didn't* yet have on CD (don't think I'd ever heard it either). It was SO much darker than anything else I'd heard by him, and I was a big Joe Henderson nut back then too - so I was pretty much in heaven when I finally got to hear it a couple days after I'd bought it. I must have spun it 10 times that next week, iirc. Not a whole lot of other albums quite like it either, that I can think of (certainly not back then). I sure wish Herbie's "Gil Evans" phase was an album or two longer -- he really had a knack for that kind of writing. In fact, has ANYONE ever attempted anything specifically like Herbie's smaller-group "Gil"-esque writing? The economy/complexity of the results -- much like Gil's own economical writing - was really something special.

I'm trying to remember the 6 musicians they have focus areas on. Armstrong, Ellington, Parker, and Ella Fitzgerald: I'm pretty positive are four of them. Any of my fellow KC folks remember the last two? (I'm drawing a blank, beyond informed guesses.) I'm pretty positive it's *not* BOTH Miles & Trane, iirc. (But Miles might be one of them, though just as easily not.)

I lived in KC from 1994-2011, and visited the museum once or twice early on, and again about 3 years ago circa 2015. I don't think there have been many (if any) updates to any(!) of the exhibition content in the last 15 years. And to be honest, iirc about 50% of the somewhat paultry displays were devoted to about half a dozen big name artists (literally 6 big names), and the rest was all pretty generalized stuff. I always felt like the museum was sorely lacking in content, and certainly did nothing to encourage repeat visits. It was a halfway ok start - sort of a junior-level museum - when it first opened. But it's been nearly static ever since. I can't comment on how it was run, or any insider stuff, but I've always heard it was badly managed in a dozen or more ways.

My mom had three Tom Lehrer LP's in her collection (along with a couple Alan Sherman records too), which I got endless enjoyment from as I was growing up in my pre-teen years (for me in the late 70's and very early 80's). I have some really fond memories of the Lehrer albums especially, which I haven't heard in over 30 years, but I bet I could tell you some sample lyrics from probably half the songs on every album, to this day. Really a unique voice. Kind of reminds me (now), of an apolitical Mark Russell, who was similar but different (and later, I realize).

Here's Track #3: "Starship" -- the first of the studio tracks, and the beginning of Side 2 of the original LP. Tenor doesn't come in until after 3:15.

How many cuts is Joe on, on the Rush LP? I could see tracking that one down. There don't seem to be any samples on-line, from a cursory search (least none uploaded to YouTube) - but it looks good on paper.

Two more Joe items I didn't even know about (or knew about 10 years ago, but long since forgot). Here's The Cat...(playlist of the entire thing). With vocals! - oh joy. EDIT -- you can hear the whole thing on Ben's site even... http://bensidran.com/album/the-cat-and-the-hat And dear god, it's not just some vocals, but TONS.

Joe's playing throughout this album is... how do I say this... Joe's playing is really a lot better than the album deserves. Not much more than half bad overall (there's some damn faint praise), if you find it used - but I'm not sure I needed to go out of my way to get this. That said, Joe gets off more than a couple half-devastatingly gorgeous solos as the album gets going. I'm re-spinning it all again now, as I type this, and I almost wish Joe *didn't* play this well on the thing, truth be told. Joe-a--philiacs (like myself) shouldn't shy away from this date, but it's probably very much an optional purchase for everyone else.

Several years ago (at Love Garden Records, in Lawrence, KS), I stumbled on a 2011 CD reissue of an obscure album by an obscure band from Las Vegas(?!), recorded in 1971 -- and having dug it out again this morning, I'd forgotten what a real corker it is. Anyone else have this one? IMHO, 4 or 5 tracks (from the expanded 8-track CD) are about as top-drawer as you could ever hope, from something this obscure. The tenor player, especially, is exactly the kind of player I like best -- forward and out there, but restrained and tasteful - all at the same time (much like Joe Henderson during Joe's 70's Milestone years). On the original album, Side 1 was two long live tracks -- and Side 2 was studio. Then the CD adds three more tracks (30-min) from the same studio session - so the whole CD runs 73+ minutes. For my money, the first 4 tracks on the original album are stone classic (and the 19-minute last (8th) track ain't shabby). The rest (tracks 5-7) are close to as good, though I think they clearly picked the best material for the original LP. Here's the back/front of the CD (images from discogs): https://www.discogs.com/Spirit-Free-Plays-Starship/release/3277592 The opener on side 1 (live) -- which includes a stage announcement that it's based on an Egyptian scale -- is energetic but restrained (at the same time) - and sort of bubbles along with a lot of urgency. But I'm actually going to post track #2 first (below), which I think more quickly displays the quality of this band. The whole band really cooks -- but what seals the deal for me is the tenor-player, Rick Davis (Paul "Rick" Davis). The liners, which are fairly extensive for something as obscure as this - say Davis was born in 1935 in Wichita, and "hit the road in 1957 with Buddy Morrow as well as a variety of big bands, including the Hal McIntyre and Russ Carlyle Orchestras", before being drafted in 1958. "While stationed at the Brooklyn Army Terminal and playing in the 328th Army Band, in his free time he gigged with a number of jazz groups, including saxophonist Sam Donahue" -- after which he went to Vegas... Anyway, I won't type out all the liners (6 dense pages of text, plus as many pages of pics). None of the these guys (or, frankly, any of the names listed in any the the liners) are even remotely familiar to me (so if anyone has this, and if I'm due some education about anyone, please lay it on me). Here's the whole band on these recordings: Rick Davis - Tenor Rob Feuer - Electric Piano Orlando Hernandez - bass Santo Savino - Drums And here's Track #2: "Vibrations" (live) -- which quickly showcases how good these guys were... PS: I'm on my second spin of this entire CD this morning.

What if I'm nu to Nu jazz?

FWIW, it seems the ones in this series that are 2CD, are 3LP sets... https://www.discogs.com/label/1180955-NDR-Info Also, Amazon has most of them (maybe all?) - some with a release date of April 20th (and some seemingly available now) - and some out of stock... https://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dpopular&field-keywords=Onkel+Carnegie+Hall&rh=n%3A5174%2Ck%3AOnkel+Carnegie+Hall (Some have the apostrophe in the title, some don't -- so my search is just on "Onkel Carnegie Hall") Hopefully they'll be more in this series!

I went through the exact same two-step process! I don't have a whole lot of Hadley, but what I've heard has piqued my interest.

Here's the entire Johnny Guitar Watson...