Rooster_Ties

I'm be damn.

Not to get us too far off-topic, but where the hell is some unreleased live *Joe Henderson* from this same era?? I, for one, am shocked virtually NO *live* Henderson fronting his own band (playing his own book) has ever come to light from the 1960's (not even in trading circles, that I'm aware of). The only things that are even close are the Erich Kleinschuster thing (this 2CD set, with mostly Clifford Jordan, and some Carmell Jones too) -- and the 2 discs on Verve with Wynton Kelly, Paul Chambers, and Jimmy Cobb (but they don't do even ONE Henderson tune). Sorry, off-topic, I know.

Which is SUCH a shame. I *loved* the "Select" format. Sure, it wouldn't necessarily include repros of quite all the album covers (if there were more than 4 in a single set). But other than that tiny quibble, I don't think I can think of a single complaint about any of the dozen(?) Selects I own. I say "dozen" - that's just a wild guess, off the top of my head, it might be closer to 15 that I own, come to think of it. EDIT: **HA!!** -- I own exactly 15 Selects; I just counted: MS-001 Mosaic Select: Grachan Moncur MS-002 Mosaic Select: Carmell Jones MS-004 Mosaic Select: Randy Weston MS-005 Mosaic Select: Paul Chambers MS-006 Mosaic Select: John Patton MS-007 Mosaic Select: Curtis Amy MS-011 Mosaic Select: Dizzy Reece MS-016 Mosaic Select: Andrew Hill MS-020 Mosaic Select: Charles Tolliver MS-023 Mosaic Select: Andrew Hill: Solo MS-025 Mosaic Select: McCoy Tyner MS-026 Mosaic Select: Bobby Hutcherson S-034 Mosaic Select: Denny Zeitlin MS-037 Mosaic Select: Charles Tolliver Big Band MS-038 Mosaic Select: Sam Rivers Rivbea Orchestra If you don't count my extra (safety) copy of the Hill 'BN' Select (the only Mosaic I've ever bought two copies of).

Recently saw a great B&W photo of Blakey clearly wearing a *square-bottom* Rooster brand (or maybe Ernst, another good square-bottom brand of ties) from the early 60's. The tie had thin horizontal stripes, about every 2 inches or so. Narrow tie, probably 2-inches wide at most (maybe 1.75 inches, which was the standard in the early 60's for Rooster and Ernst). Anybody got a line on it? 90% chance it was a Francis Wolff shot, in the studio (sure looked like it to me). Thanks!! -- Tom

Bertrand and I saw a free screening of the Lee Morgan doc (DC premier) at the National Gallery of Art here in DC on Saturday, and it was really quite good! Didn't focus on the music as much as the people, but I thought the portrait of Lee (and the others in his orbit) was compelling. Dozens and dozens of incredible photos I'd never seen before (including many outtakes (photos) from a few later (color) photo-shoots I was very familiar with perhaps one or two shots, but not the several more shown. Don't want to give away any spoilers, but interestingly the key facts of Lee's ultimate fate weren't discussed until about the last 15 (maybe) 20 minutes of the film, by which point the audience had 'gotten to know' Lee's common-law wife fairly well, through remembrances of half-a-dozen members of his last band, and from quite a number of extended clips taken from an audio-only interview with the wife in her last year (circa 1996, iirc). And she was portrayed somewhat (I don't want to overstate this), but "somewhat" sympathetically up until the point in the film where Lee's death is discussed. And amazingly, she was remembered genuinely at least "half-fondly" by most all of the members of Lee's last band as well (well, by those who agreed to be interviewed). The large auditorium at the NGA was reasonably (70%?) full, perhaps 300-325 people (I think it holds 500-ish), of which I would have to assume 75% *didn't* know the story of Lee's death (which wasn't in the program description). Quite surprising the way the film was structured, in that respect. But all in all, I was very impressed. One left the hall feeling like you knew Lee a fair bit better, and there were even some (audio) interview segments with him in a few spots. Not necessarily ideal from everyone's perspective (I'm sure), but I would highly recommend it, pretty unequivocally. Went expecting to be a little bit disappointed, and left a little unsettled, but *very* glad I'd gone. Don't miss it, if you get the chance. (And I might well buy it on DVD, depending on the price.) EDIT: There was a bit of nice performance footage, but nothing that I hadn't seen before (mainly from the late 50's and early 60's, I think 3 or maybe 4 short clips -- which serviced the story quite well). But there was an absolute treasure-trove of photos(!), which Bertrand and I both found to be pretty great (I'll let him give his overall impressions of the documentary - I wouldn't want to presume to speak for him).

CD seems to come from three From the various (few) on-line listings of this new release, the CD does seem to come from three (3!) different nights and recording locations, so perhaps the line-up(s) are not all identical. March 20, 28, 29 - 1968Locations: Amsterdam, Theater Bellevue -- Hilvousam, VARA Studios -- and Rotterdam, Jazz Club B14

FWIW, the catalog number (from the HMV link) appears to be: FNCJ5621 <<< now a link that goes to the Google search. Which seems to bring up 8-9 various Japanese sites with early pre-release listings. None with artwork (yet), and seemingly none with any sort of track-listing -- though eventually those may start to appear in time (perhaps only in Japanese). All of which is to say that searching on that 'cat-no' only in the coming weeks or next month, and then looking at the "translate page" link results -- may (at some point) give an early indication of the track-listing (even before it appears anywhere else in English).

It sounds really lovely! I'd get a copy, sure, why the heck not?! Does anyone have a link to where this can be pre-ordered? (From anywhere?) I can't seem to find it on Amazon (US nor UK), nor Amazon Japan, nor CDJapan -- and my Google-fu is coming up snake-eyes too. (Thanks in advance!)

Do we know what year is this from?

I work alone in a big office, but it isn't really private (but also isn't high traffic all the time either, thankfully). I have earbuds in sometimes, but most of the time it's better if I listen with the speakers on my desk at a low volume. There's lots of white-noise in my big space (HVAC fans), but I often need to be able to hear when my boss in the other room hollers a question or needs something -- and speakers on my desk seems to work best. I never can hear bass-players (don't have anything turned up enough for that), but nearly everything else comes through. Can't quite play Ornette (or Tyrone Washington), and the like - but there's plenty I can get away with, without any repercussions at all. In other offices around here, plenty of people work with earbuds in all the time. I do maybe about 20% of the time, or more when my boss is out of the office (a fair bit sometimes).

"Hard" as in "Nearly impossible" to really give a good listen without headphones. I've tried (several times), and failed miserably every time. Even speakers on my desk right in front of my computer monitor (with me at the keyboard) doesn't do it either. I'm really of two minds on this set. I'm glad to have it, but maybe more in theory than in practice. Not regretting having purchased, but definitely one that I won't be spinning with anywhere near the frequency of the other volumes in this series. And if more open sessions like it come down the pike (in future releases in the series), I'm sure I'll probably give in and buy 'em too -- but I won't make them my highest priority. Although, BTW, I simply *ADORE* the two similar "rehearsal" sequenquences from the 1965-68 box, i.e... "I Have a Dream (Rehearsal Take)" (Hancock) - 6:43 * "Speak Like a Child (Rehearsal Take)" (Hancock) - 2:25 *

OMG, this was nearly 14 years ago.

I really need to spend more time listening to this with headphones/earbuds. I've had it on in the room a few times, but I never can focus on what's going on enough (my bad, I know). My boss is out of town the balance of this week, so I may try and listen at work the next few days, see if that works.

Tyrone Washington!!

Count me in... ...in the next few days, I promise.

11th hour (11:50pm here in DC, so getting in just under the wire)... I've long lost the random jpg I found on Google some 10+ years ago of some random neckbeard (that, for the record, *never was me*). Never the less... ***HAPPY BIRTHDAY FROM JOEL AND THE CATS!!!*** (Can anybody find that old image for me? Anybody remember what I'm talking about? I've searched before, several years ago after the Big O board lost all its attachments -- but never any luck.) Happy, Happy Birthday!! ? ? ?

Charlie ("Charles") Rouse's 70's leader-date for Strata East (Two Is One from 1974) certainly isn't like what most folks might expect from Monk's main sideman. The title track, in particular (but the whole thing, really), is really something else...

Is Keith on lead vocals on any cuts. (And which ones?)

News to me as well. Better (10 years, in my case) late than never!!

My uncle was a lifelong jazz fan (whose complete Downbeat collection (with issues from 1965-1990) I inherited a few short years ago). And although as a kid I only went to visit him where he lived every couple years or so (most of the time he came to my family's town, not the other way around -- about 300 miles away) -- he nearly ALWAYS took me down to his basement to listen to some records from his collection of about 1,000 LP's. I don't have specific memories of specific albums, but it all started there. He had a wide variety of tastes, including Sun Ra -- and after my uncle's passing (circa ~2013?), I even discovered he had a copy of Heiner Stadler's Brains on Fire (with none other than my beloved Tyrone Washington), which I never even knew he had all these years. He also had some of the earliest LP issues of Schoenberg's works (on Dial), and a voracious appetite for all kinds of jazz sounds (even though he loved very traditional big-band most of all). So my uncle's influence was huge, though only the Sun Ra really stuck with me the most at the time (more for Ra's crazy biography and persona, than the actual music -- which I did later come to appreciate much more). So flash-forward to my sophomore year in college, circa 1989 (spring term, when I always tried to take a couple 'fun' classes), and that year it was Jazz History 201. So I heard a LOT there, and did my final paper on Sun Ra. But even then, I'm not sure many specific recordings really took hold of me, so much as the whole spectrum of sounds (which certainly did). But what finally *DID* stick, were the first four (4) jazz albums I heard with great frequency and repetition (I had cassette copies of these four, and played both on auto-reverse endlessly for a couple months). Those four albums were... Kind of Blue Nefertiti - with "Prince of Darkness" tacked on (from Sorcerer) Mode For Joe (Henderson) - with "Gary's Notebook" tacked on (from Sidewinder) Power To The People (Henderson) And THOSE were really my very first deep jazz loves.

PM sent, re: Roney ,Wallace – Obsession (Muse) Gary Thomas/Donald Brown $7 Roney ,Wallace – The Standard Bearer (Muse) Mulgrew Miller/Gary Thomas $7 Roney ,Wallace – Verses (Muse) Mulgrew Miller/Gary Thomas/Tony Williams $7 Garrett ,Kenny – Introducing (Criss Cross) Woody Shaw, Mulgrew Miller $10

His piano concerto especially. Had the good fortune to hear him perform it live, with the Kansas City Symphony, not too long after its first release. I'd welcome another, frankly -- and more similar efforts by the likes of, say, Jason Moran (for instance).

Tempting...

PM sent!!