Rooster_Ties

Don’t know about the Herbie Nichols, but Third Season looks like it does/will… https://www.dustygroove.com/item/992282 I’ve got the 2012 CD issue of this, btw, which also has this bonus track. A Slice of the Top and Third Season are my two favorite Hank leader-dates, so I bit on getting the bonus track. Here’s the details of the 2012 CD issue I have… https://www.discogs.com/release/8646582-Hank-Mobley-Third-Season

Is it Nov 15th yet?

Did you ever have any dealings with Sam, by any chance, Chuck? Yes, I’m trying to suss out a story from you, if there’s any to tell. Thx!

Damn!

True, but the date for the TV show happened in-between (in the midst of) the recording dates for KOB, iirc.

That looks like the standard US (non-UK) price too, also w/ free shipping. Serious bargain!

From the YouTube description… >> Here’s a historic TV broadcast of the founding fathers of bebop, Charlie Parker and Dizzy Gillespie, playing together in 1952. It’s one of only two known sound films of Parker playing–and the only one of him playing live, rather than synching to a prerecorded track. The performance is from a February 24, 1952 broadcast on the pioneering DuMont Television Network. The segment begins with a brief ceremony in which Parker and Gillespie receive awards from Down Beat magazine (Earl Wilson and Leonard feather). Follows a performance of the bebop standard “Hot House,” composed by Tad Dameron around the harmonic structure of Cole Porter’s “What Is This Thing Called Love?.” I thought there wasn’t any actual “live” with live-sound footage of Parker in existence — or am I misremembering? I’m pretty sure I’ve seen this footage before (just not colorized), so this isn’t footage that’s new to me — just the claim that the sound is ‘live’ and not mimed. (Or maybe I’m conflating two different clips, which is entirely possible too.)

Andrew Hill went by Andrew “Hille” purporting to be from Haiti, and with the spelling change — all to sound a little more exotic. This even made it to an album cover (or two??) early on…

True! But my example with William Rosso and Lee Konitz, wasn’t all polite — or at least not this semi-monstrous 15-minute track.

What about William Rosso? I think(?) I only really know him from An Image: Lee Konitz with Strings — recorded in early 1958.

Weren’t a couple of the most recent sets that way? I can’t remember for sure, but the Joe Henderson and/or Hank Mobley 60’s sets were like that, iirc. Maybe someone else remembers.

Dug out my Turrentine Mosaic, inspired by this thread, and I intend to spin the entire thing today — for the first time in ages.

Turns out “Marvin’s Song” was written by brother Tommy, but there’s nothing in the liners specifically about it. All the liners are visible in the release images, here… https://www.discogs.com/release/3567716-Stanley-Turrentine-If-I-Could

The first search hit on: Stanley Turrentine “Marvin” (W/ quotes only around “Marvin” to get better results) Edit: AND, this guide to famous internments at the cemetery where Stanley was laid to rest, mentions a brother Marvin, who is also referenced as playing drums… http://alleghenycemetery.com/wp-content/uploads/2018/04/turrentine.pdf This source (perhaps needs verification, it’s a ‘wiki’ style database, but I have no reason to disbelieve it) says Marvin died in 2002… https://www.wikitree.com/wiki/Turrentine-532 And this next link might be as interesting a lead as any, but I’m on my phone, and can’t access the pages of the issue in question very easily on such a small screen. https://issuu.com/michronicle/docs/npcourier2.19.20 This next one says he died in Vietnam… https://jazzprofiles.blogspot.com/2016/12/stanley-turrentine-texas-or-pittsburgh.html?m=1 This one has a reference to “famed Pittsburgh drummer Marvin Turrentine”… https://newpittsburghcourier.com/2020/02/26/a-dream-come-true-mobutu-and-charlotte-ka-open-moka-art-gallery-in-the-hill-district/

Plural? Who else, besides Tommy?

There really were two Stanley T’s, no? Obviously two sides of the same coin, but his fast, bop-ish playing, brimming with ideas — seemed almost distinct from what he brought to his soul jazz sessions. (No value judgement implied, and I’m not exactly trying to suggest his soul jazz playing was ‘lacking’ — even if I’ll admit a preference for the former). He did seem like two different players — or his playing on different kinds of dates even within the same year — could easily be mistaken for being two different people. Here’s one, with Stan firing on all cylinders right out of the gate… vs a different, more soul and swingin’ approach…

Re: my prior observation, I was listening closely to both “Intuition” and “Digression” a few times each yesterday walking home from work — and I was struck how Hindemithian (Hindeminty?) “Digression” seemed to me especially. I don’t know enough to argue why (in a music theory sense) — all I know is I’m left with the very same feeling I get listening to any number of the numerous sonatas for solo instrument + piano that Hindemith wrote. Both of them crackle with moment after moment after moment — that, *if* it was all through-composed, would nearly all be fascinating ‘ideas’ (by which I mean premeditated compositional decisions) — but of course, that wasn’t what was going on. Also, neither track relies on the nervous energy one usually associates with free-playing. “Digression” feels like a relatively calm, self-assured (collective) tightrope walk.

I had either “Intuition” or “Digression” come up randomly on Pandora the other day (with my earbuds on, out walking) — and “refreshing” is *PRECISELY* the right word to describe the experience of hearing it out of blue like that — meaning NOT having it preceded by an hour of other Tristano and Marsh material (as it’s programmed on the 76 minute long Intuition CD).

Rereading just the new details we have so far, I have to say this set looks incredibly good on paper, and a real treasure trove.

So what’s the story on Dot Time? I was about to say I’d only heard of them before, but I see I do have this one release of theirs — an album by Phil Markowitz (piano) and Zach Brock (violin, very much out of the Jean-Luc Ponty school, and very favorably so imho) — which I quite like… https://www.dottimerecords.com/product/perpetuity/

Hope springs eternal, for this!!!! Date: February 11, 1971 Location: New York City Label: [television broadcast] Andrew Hill (ldr), Carlos Garnett (ts), Woody Shaw (t), Andrew Hill (p), Victor Sproles (b), Roy Haynes (d) a. Grass Roots (Andrew Hill) b. Bayou Red (Andrew Hill) Broadcast on WNET-TV program "Live! On Soul"

Lookee, lookee!! DETAILS!!!!!! https://www.mosaicrecords.com/product/lennie-tristano/

Steve Coleman also subbed for Branford on part of that tour, as seen here… Edit: to say that I still enjoy Sting’s first 3 solo studio albums, i.e. the “jazz-adjacent” ones (along with the live Bring on the Night) — but after that, Gordon is just hit-n-miss for me (mostly miss).

I’m normally not curious about such details, but I wonder what sorts of substances Woody might have been using (and not managing well). Just alcohol? Or illicit drugs worse than weed? No reason for my curiosity, and I’ll admit feeling a little strange wondering. Brilliant mind — and an absolutely brilliant technique (at least for a solid decade). For a solid 5 or maybe even 10 years there, I’m certain there was no one better on his instrument than Woody. I should probably already know this, but did he top the polls much? Ever? Probably not, or he’d be better known (I have to remind myself he’s not better known now). One other observation: I’ve heard about 3 audio-interviews with Woody over the last 10 years, and I was struck how much chutzpah he had. Some might even say to the point of arrogance, or that he even ar least sounded pretty conceited. I’m not trying to pass judgment, other than to say that whatever sort of personality traits I thought I might have heard in those interviews, they certainly didn’t match my expectations. (Granted, those were interviews, and not just recorded conversations.) Just something I noticed, that really stood out to me.

I’ve only owned the material in the 2cd set configuration — with its division of the more inside/structured material on disc 1, and the more outside/free stuff on disc two. I’ll have to look up the original IS album configuration, and see what of the out/free material is represented (as I’ve listened to the ‘inside’ disc 1 of set about 10x more over the years, than the ‘free’ disc 2 material).