Rooster_Ties

Gosh, golly - of all things; there’s a new, spacy version of “Track 9” on the new Lonnie Smith album that’s just out this week. Starts slower, but picks up steam as it goes. Maybe helps if you know the tune first, at least in the beginning before it gets going. The head’s a little more nebulous at the start (here), but interesting to hear a little transformed:

Not much new in this article (unless I’m overlooking something). https://www.jazzwise.com/features/article/the-life-and-tragic-death-of-lee-morgan-he-was-a-young-man-already-older-than-his-years-thrilled-with-his-talent-and-the-wonders-of-the-world-around-him One thing though, is that this article says it’s an 8LP set (and makes no mention of CD) — where all the prior intel up-thread seemed to suggest a 12LP / 8CD set. But I’m not putting a ton of stock in this new article necessarily, and I haven’t done the math — but 8 CD’s does seem a lot more inline with what I’d expect (given the rough number of tunes on the 3CD set, and about how long the list of unreleased alternates there were) — just eyeballing it. And if that’s right, then 8 CD’s would seem to translate into 12 LP’s

Looks like Lee Morgan Tom Cat came out on LP at part of the LT series in 1980, so that doesn’t count. Jackie McClean Tippin The Scales came on LP in Japan (King) in 1979, so no there too. The two Mobleys (Moblies?) DO both appear to count, having been issued for the very first time in 1984 & 1986 (on CD).

Or another way of asking: was the US-European “Connoisseur” series (which started in July 1994, or maybe June?) the first time ANY (then) previously unreleased Blue Note sessions saw the light of day on CD as individual (single-CD) releases?? — specifically talking CD’s, mind you. Maybe in Japan (but anywhere else really), were there any individual CD issues of previously unreleased BN titles (entire sessions) that HADN’T come out on LP in the 70’s — before that started a little more frequently with parts of the Conn series, and later the Rare Groove series. (So I’m NOT talking about things like the McMaster issue of Dimensions & Extensions (Rivers), which I seem to remember came out in 1987 — since it had already seen release on LP a decade before.) Talkin’ all pre-Conn — before whatever the very first previously unreleased Conn was (and remind me, what were those first few previously unreleased Conns too?? - btw — or only previously released on Mosaic, but never on LP, pre-Mosaic). But if it was part of a Mosaic, just never a single CD issue, then let’s DO include those. What was the very first one? Or first handful?

Did anyone notice, is/was the Harold Land thing a 2cd set too? (Or 3LP’s then, I’d guess).

My big thinning the herd (thinning the ‘heard’) project before our big move from KC to DC ~10 years ago was very rewarding. No rule was absolute, but a couple of the main criteria were that I couldn’t keep a CD for just one single track — and also if I couldn’t ever imagine loaning the CD to anyone for any reason (i.e. I thought so highly of the disc that I could in effect ‘impose’ it on someone else to ‘make’ then listen to it). I jettisoned somewhere between 35% and 40% of an 8,500+ CD collection — what I ended up with was a LOT more enjoyable as a sort of document of my strongest musical interests — with a LOT less half-ass stuff that might have been ‘interesting’ — but not much better. The classical CD’s took a lot of hits — maybe close to 55% of them got cut — but the nearly 1,000 I kept really did have a much better focus to it. A good collection needs some periodic curating (and editing), and it being 10 years since my last major pruning, I’m probably overdue.

Surely The Bastards™ will have this, and the Land/Carmell thing too, you’d have to think? I’m just tempted to take my chances there, even if it costs an extra buck or two.

And one that seemingly can have two entirely opposite meanings, sorta... https://english.stackexchange.com/questions/152881/chief-cook-and-bottle-washer-meaning-and-etymology

My gosh, yes!! — Virgo Vibes being Tolliver’s only recording I know of with Joe Henderson too, iirc. Tolliver’s also on the two additional bonus tracks from that same VV session (iirc), although I think those are both with Harold Land instead — but about 13 minutes total, and quite good as far as extra material goes, fleshing out the date quite nicely.

I’d all but forgotten Tolliver was on even this date, but what I’m really remembering is that Tolliver’s contribution was pretty hard to even notice. I think I had a 32jazz CD reissue if it (those 32jazz ‘jewel cases’ gave me the willies), and traded it off fairly quickly (knowing me, due to a severe lack of discernible Tolliver quotient). If all this album is up on YouTube, can anyone pinpoint any serious Tolliver moments?

Free From?

Guitar Froms? Froms & Sounds?

Hey Chuck, I don’t really have any super-specific questions — not really sure if I know enough to know what to ask — other than rummaging around Discogs, I’m noticing a fair number of Japanese and French (anywhere else I’m overlooking?) reissues of various Nessa records over the years. Seems to include some semi-contemporaneous LP reissues, as well as some later CD reissues (possibly some being the first time any particular titles having been issued on CD). How’d that all work? — and work out? — for you. Any interesting stories to tell, or any observations years (decades) later? Not even sure what else to ask, but surely some other folks here can come up with some more interesting questions on the general subject. Maybe it was all cut and dried, and nothing worth telling — but I suspect there’s at least something to the process and your experience of it that a number of us here didn’t know, and wouldn’t think of to guess. A topic worth exploring, maybe? Thanks!

To make more money, if you ask me. The 2CD set will do just fine, for me.

I had both those Art Yard titles (Disco 3k and Media Dream) back 10-15 years ago, but ultimately found them a little too wild and unstructured for my taste. I had been incredibly interested in them (on paper), given my love for the 2 quartet titles on Horo (New Steps and Other Voices, Other Blues). But ultimately I found the ‘still-rather-free’ Horos a little more structured (and I guess a tiny bit better ‘restrained’), more to my liking — and I sold those particular Art Yards a few years after I got them (in the great purge, before moving out here to DC from KC ~10 years ago). In they move I thinned out my Sun Ra on CD from almost 50 discs down to maybe 25, and really discovered how much more I liked/loved what I kept, not being ‘diluted’ by the titles I merely found ‘interesting’ but not as rewarding to actually listen to. I’ve discovered some joy in trying to better curate my collection, so there’s a bit more rhyme and reason to what I have vs. what I don’t (that I either had, or have heard several times online, and made a conscious decision not to get in the first place). Got rid of a lot of “good” music, sure, but little that I was especially enthusiastic about.

Seems like a lot of unreleased Wes* has seen the light of day in the last 5-8 years. Question: Is that as much (or more) because he’s thought of (or hoped to be) a more viable “product” that might open up more wallets, than some other less bankable names? *lotta Bill Evans too, come to think of it. Maybe “a lot” is stretching it, but comparatively so — as compared to horn-players (not named Trane or Miles). Not a complaint, so much as an observation. (Ok, ok — half a complaint, if I’m being honest.)

Bingo!! His Wikipedia discography is far from complete, but both dates are listed here... https://en.m.wikipedia.org/wiki/Phil_Ranelin https://en.m.wikipedia.org/wiki/Everybody_Loves_a_Winner https://en.m.wikipedia.org/wiki/The_Red_Hot_Chili_Peppers_(album)

Afraid not. Last hint: It’s a horn player.

No, not James Taylor (who as far as I know, has no RHCP connections). A few more hints: our mystery musician played on a number (quite a number?) of 1960’s Motown recordings (uncredited), including with Stevie Wonder. By my count, I own ~15 CD’s with our mystery man, well over half of which are leader-dates under his own name (or as co-leader).

First I’ve ever heard of Ornette and Redd ever having done anything related — though from that thread, it’s not at all clear that they actually ever recorded TOGETHER. And regardless, I don’t know that Flea and Ornette appearing on-stage together once (together) counts either. No, I was thinking of an entirely different person — and both times this person recorded with Freddie and Flea, it was for regular studio sessions (released as regular albums, both on major labels in fact).

No guesses at all? If it helps any, it was a jazz musician.

Also — alas!! — here was an actual one that sold on eBay recently... https://www.ebay.com/itm/Guitar-Rarities-Volume-One-1934-1946-Various-Artists-RARE-Great-Condition-/174675998484?_trksid=p2349624.m46890.l49292 Have you set up an auto-search to email you whenever a new listing of one pops up?? Looks like this one sold just about a week ago (3/11/21).

Speaking of Flea — can anyone name a musician who recorded with BOTH Freddie Redd and also with Flea?? And can some kind soul post Flea’s story here? I don’t have an Instagram account — and it’s making me log in to see the whole thing. Thanks! (Maybe that’s even what it’s about— but I’m guessing probably not.)

This may genuinely (seriously) be the most brilliant thing I’ve heard in over a year... Somehow, with this new stunning choral arrangement (below) backing the original un-retouched soloist — this choral quartet has actually “fixed” the entire performance, into something gobsmackingly beautiful — and no longer any sort of sonic clusterfuck at all. Still weird, yes, but it now sounds bloody intentional, filled with bold shifts in tonality — but ones that now sound WAY “more natural” — if (still) not quite “normal”. I can’t technically explain the finer points of voice leading, or modulation — but these guys clearly know their shit, and have turned a sow’s ear into one of the finest silk purses ever. But don’t just take my word for it, hear for yourself. This is the total opposite of a “train wreck” — and might be better described as an “anti-trainwreck”.