Rooster_Ties

I'd say that's semi-related to one of the wrong things (but only semi-related). (In other words, yes, the shadows are strange -- but why are they strange?) More to the point, the other things that are wrong (edit: probably) explain the shadows, but the shadows alone don't necessarily indicate anything is 'wrong' per se.

Excellent guess, but it's NOT the glasses. (But, again, an excellent guess.)

Hank Mobley: Far Away Lands (recorded May 26, 1967 -- first released in 1984, and this is the original cover). This cover has bothered me for nigh on 25 years, give or take. And just today I figured out WHY. Let's see if any of you can guess!! So, what are all the things that are wrong with this cover being for this Blue Note album? (And I mean besides the cut-rate Reid Miles knockoff titling/lettering thing, which has always bugged me too. But to be clear, I'm NOT talking about the wonky lettering, or questionable color choices (or color combination), or the logo, or the logo-placement, or the font size of the album title, or placement of said title -- NONE OF THAT. What ELSE is wrong? And, no, it's NOT the cigarette in his hand either.)

There’s a whole bunch of regional funk cd comps that are outstanding (not every single track, mind you, but lots of great stuff). I’ve got about 6-7 of them, all on the same label — I’ll have to look later at home. Legit 70’s stuff, often early 70’s — small label, some by bands that only ever did singles (iirc). Good stuff. Got ‘em all from Dusty, or used a couple other places.

Gearbox released Charles Tolliver’s most recent release (a studio date), so I’m practically positive they’re legit… https://store.gearboxrecords.com/products/charles-tolliver-cd-pre-order

I assume that it’s because some of their sources can’t always guarantee 100% order fulfillment. And (I’m guessing) that doesn’t mean some of their vendors end up completely having zero item-availability on certain titles — but, rather, that Dusty might order 10 copies of a title, but only get 6. If a vendor has a history of superior fulfillment, then pre-orders would be allowed. But (I imagine) some titles with limited availability might be a LOT more problematic to allow pre-orders of. That’s ALL conjecture — every bit of it — but it just makes sense (which, of course, doesn’t guarantee it’s true). Anyway, that’s my theory, and I’m sticking with it.

I’ll probably wait to hear some reviews before I made a decision — but I imagine it’s gonna be pretty damn tempting to get, I must confess.

They’re on it!! https://www.dustygroove.com/item/157799/Various:J-Jazz-Free-and-Modern-Jazz-From-Japan-1954-to-1988

Gosh, has it really been 15 months since this footage of Hank first surfaced? I just stumbled on it, on YouTube — searching for something else entirely — and thought I’d give this thread a bump.

I suspect their new website probably has limitations around how orders are logistically done. I’m just guessing here — but it is semi-educated… Don’t most all credit card transactions (online, or otherwise) put a credit hold on the CC account used (the one on the credit card). And then a moderate number of days up to maybe even a couple or a few weeks (at most), the retailer pulls the levers to actually charge the card (which is different than just the credit hold). But I suspect credit holds can’t be held for more than a month (or two month) at most. Either the charge has to go through (an actual charge) — or the credit hold has to be lifted. There is a nebulous middle-ground for a while, but there may be limits to what the credit-card companies allow (contractually, and probably through the rules ‘enforced’ by their software, programmatically). That certainly isn’t to say that an online system couldn’t be developed to provide that sort of function (without the credit hold) — but I’m quite certain that the configurable web-store either can’t do that easily, or not without custom programming (which would easily cost mosaic $1,000 or $2,000, or more). Could it be done?? Sure. Can it be done for free or at little cost?? Probably not.

A friend of mine tried to order one last night (and couldn’t for the same reason) — and he called Mosaic and left a msg and also sent them an email. And then this morning (on a Sunday) he had an email reply that my friend described to me as… “Email from a Fred at Mosaic: The first pressing of the Don Byas set has sold out. We expect to have back in stock after the New Year and we will (again) offer at sale price for a limited time.“

Well, I’ve got a special tune in mind — if there’s still space.

When my wife and I bought tickets to see Living Colour(!) here in DC over the summer (in a brand new tiny club that only holds 400!)… …we got an special offer to join AARP from within the Ticketmaster app.

Just added one to a Dusty Groove order I'd started earlier today. I couldn't resist either -- not that I even tried.

I’ve recently been spinning some Andrew Hill, and I’d completely forgotten that Carter is on basically 5(!) different Hill sessions: 1. Grass Roots 2. Passing Ships 3. the 2 sessions with Tolliver on disc one of the Select (basically one album) 4. the longer of the two sessions with strings from the Select (on disc 2) 5. the trio session on disc two of the select too. Ron’s an interesting foil for Hill, but maybe ‘interesting’ isn’t the right word. He’s very grounded in his playing, not so staid as to be called ‘metronomic’ — but he’s just solid, holding down the time. And I mean ‘solid’ as a more neutral adjective — as he NEVER mixes it up with Andrew (or Andrew’s various drummers) — and Ron just does his thing entirely in his own zone. And it’s ’interesting’ only in the sense that it brings a whole different vibe to a Hill session. Again, I’m NOT saying that’s a good thing (or a bad thing) — but it’s DEFINITELY noticeable. I think(?) I like it, but on any some days I might say where the heck was Richard Davis?? I think Ron’s presence is best on the two sessions with Tolliver on disc one of the Select — and he seems to be electric maybe? — or else Ron’s acoustic with an electric pickup (or however you say it, or did that only come later?) — it’s a very active tone, that’s for sure. And it works on Passing Ships nicely too. And I say “Ron’s presence” because he’s not an active, creative player on these things — the way Richard Davis was. Ron got in a zone, and just did his thing, and lets everyone else provide more creative ebb and flow, and variation. I do “like” it (in that context with Hill) — but I don’t “love”. BUT, it does make Hill’s music groove in a way that it never would otherwise — and I guess THAT’S what’s interesting, in a way.

I’ve streamed this release twice now (via Pandora), and I can’t help but be amazed at Hasaan’s self confidence and the almost continuous ‘boldness’ of his playing — not just on this release, but also the earlier double-CD of solo-piano recordings. He was an absolute visionary, far as I’m concerned — maybe ‘visionary’ is a little strong a word, but pretty damn close, in my book. You all know my love of Andrew Hill’s output (practically everything). But, to be honest, Hasaan could have (maybe) potentially bettered Hill in terms of developing a significant canon of tunes, and a substantial series albums with varied instrumentation — at least based on the recorded evidence we have now. Hill never did a big ‘statement’ sort of piano trio album during his run on Blue Note (save for the session on the Hill BN Select, which isn’t anywhere near as bold as The Legendary Hasaan). But Hasaan’s record with Max is one of THE best of its kind, bar none. But it’s also all there in the trio recordings on this new release too, with Henry Grimes(!) and Kalil Madi — every big as much strength of conviction in every phrase (or damn near). I’ll be really curious to read the notes of this new one, to find out if these new trio recordings predate the session with Max on Atlantic (or not) — and whether they’re live (no audience can be heard, far as I can tell), or not. What a treasure!! I sure hope there’s a little more yet to come. I’ll get ‘em all, I imagine.

Feels like she’s accompanying him — and I mean that in the very best way!

Entire thing is on streaming services (YouTube and Pandora for sure, probably others too). I’m pretty blown away by this track with the vocalist…

Lennie Tristano’s solo output never fails to turn my crank. There’s about 2 hours of ‘em, irrc — one full disc on the Tristano/Konitz/Marsh Mosaic — and another full disc on the more recent all-Lennie box (personal recordings). And then at least one disc on his own ‘Jazz Records’ label (Descent Into the Maelstrom) — which has these 7 solo tracks: Descent Into the Maelstrom (3:28) Dream (3:28) Lullabye (1:53) Image (4:11) Rehearsal from Recording Date: Take 1 (4:35) Take 2 (3:12) Take 3 (4:06)

First time it and something else I want from Dusty come up as in stock at the same time, I’m in. Not gonna pay postage for just one CD — but I “can’t not” get this, so sooner or later (and probably sooner).

The CD that THEY f’d up and sent you by mistake?? What the hell kind of operation are they running? — putting tight time-framed return demands on a customer to return a product they sent out by mistake, that they wouldn’t even have known about if you hadn’t told them??

So, Pim, what’s your favorite Mal piano-trio record? — since Reminicent Suite is clearly your favorite one with horns (and it’s also MY favorite Mal record with horns). Or better yet… 1) What’s your favorite LIVE Mal trio release? 2) What’s your favorite STUDIO Mal trio release? 3) And then between just those two — which one do you like better??

Yeah, I’ve been pining for this one on CD for 10 years, maybe even closer to 15 years (can’t remember if I got the burn I have of it before or after I moved to DC). NEVER expected I’d ever see it reissued, to be honest. Happy day!! 🥰

Well lookee, lookee… one track’s already up on YouTube (which I accidentally found on Pandora this morning just now)… I haven’t done the math (walking to work as I’m posting this), but I think(?) this may be the same ‘extra’ non-“Legendary” tune of unknown origin that appears on that recent disc by Brian Marsella (who’s also from Philly).

If anyone hasn’t heard this one, here’s an upload of the entire thing. Two side-long tracks, second one starts at 23:38…