Rooster_Ties

Just stumbled on my older copy of the Swainson Quintet CD (mine is on Sound-Service/Bellaphon, out of Europe). In any case I knew I had a copy at one point, and I’m glad to have a copy already (and not be tempted to repurchase it). Listening to it now. Nothing revelatory, but a pretty solid and very straight-ahead date. Says Woody is on trumpet throughout, but some of his playing is so smooth you might mistake it for a flugel. And considering this was Woody’s very last studio date, he sounds remarkably good (considering). A very nice, if not quite ‘fiery’ date. Sounds very much like a “Concord date” too, I might add. Not that I can articulate exactly what I mean by that — other than having it on now I’m suddenly reminded of some other similar Concord dates I’ve had over the years. One that just came to mind was Allen Farnham’s 5th House (Concord, 1989) - which I haven’t heard in well over 15 years.

A LOT of the music I’m most interested in - at last jazz - is really a lot more obscure. Small labels, non-US artists (Japanese, European), and I love really well-curated various artist CD’s of African and Ethiopian music. And some obscure Scandinavian jazz (beyond ECM). I would venture a guess that less than 50% of my non-pop/non-rock CD purchases are of music that I couldn’t stream, even if I tried. CD is definitely the way to go for me.

I would take Discogs listing prices with a grain of salt. Or at least for more obscure titles, best to also check Discog’s actual sales history (with hi, low, and median actual-sales-data). Sometimes recent eBay sales data is also helpful, but (unfortunately only limited to the last 3 months, unless you’re a seller, and then maybe you get a little more data - is it 6 months?). Amazon 3rd-party sellers’ listings sometimes help too, but also suffer from the lack of “real world” listing pricing data, same as if you only look at Discogs offerings (without looking at actual sales). Fortunately that actual sales data is available w/ Discogs.

95% CD here in our household, but I realize I’m in a minority that will be tiny within years (if not already). Hate downloads, and vinyl is too much of a pain generally speaking (though I’m ok with buying old vinyl... as long as the title has either never been on CD ever, or if it costs more than 4x as much on CD vs. LP). But I’ll gladly pay up to a 3x premium to get something on CD (vs. LP), especially for a title I’m really interested in. I will stream stuff to sample it, but if I really like it, I’ll always try and track down a CD copy (though it might take me 5+ years before I find some titles I want for a cheap enough price). But I’ll also pay upwards of $20/disc for certain Japanese-only titles, not because I want Japanese masterings - but for titles that have only ever been issued on CD in Japan. Rarely do I ever buy (or rebuy) CD’s based on sonics, and (for instance), in most cases the more recent domestic-RVG reissues have always been “ok enough” for my purposes. All that said, I Only buy about 35-40 CD’s per year these days, down from what had to be 300/year back 15-20 years ago.

Just checked my Elvin Mosaic booklet, which I’m sure I haven’t looked at since before moved to DC (so well over 9 years ago). And I’m glad to report that my booklet is complete. (Couldn’t have sworn under oath if I remembered absolutely whether I’d looked thru it carefully - though I certainly would have thought I would have several times within the first few years since I’d bought the set). Just checked my receipt too (still in the box), and it’s dated 19 years ago to the day, as of tomorrow (i.e. 8/27/2001).

Don’t suppose there’s any examples of this band on YouTube or anywhere else by chance - ? My cursory search on YouTube came up with zilch (“Sonny Rollins 1967”).

No track-listing (yet), but some pics and a few more paragraphs of info... https://resonancerecords.org/product/sonny-rollins-rollins-in-holland/

How much Parker is there in stereo to begin with? I probably used to know more clearly years ago, but I seem to be under the impression that the great (vast?) majority of Bird’s entire documented output was all in mono. I do remember all the various sources of Parker’s sax lines they “Frankenstein’d” for the Clint Eastwood Bird soundtrack, were all in mono. And right or wrong, I got the impression that was emblematic of Bird’s entire output. (I’m obviously revealing the depth of my lack of knowledge of Parker’s oeuvre.)

As a retort to the Dem’s “kid with the stutter” - maybe the Repubs can find a kid with bone spurs.

Can a kind soul remind me, is this the only album Mingus recorded on piano? I used to know (years ago), and I always meant to pick up the Mingus piano album(s) at some point... ...much as I meant to pick up Jack DeJohnette’s piano album(s) too - and how many of those are there too?? - another fact I swear I used to know 15-20 years ago. Thanks!

Big band, lotta mouths to feed.

I barely know any of the pre-Buckingham/Nicks (pre-1975) version of FM, but have thought about picking up a few of these albums off and on over the last decade or so. Should I take the plunge on the whole kit and caboodle?

Saw her playing some of this material at the Kennedy Center a couple years ago, and it was a delightful evening. Will have to order at some point.

Does the absence of Andrew Hill from this list infer he was a ‘star’ for Blue Note? Seriously, is the author of the piece inferring that Hill must have been a star, since Blue Note released so many albums and sessions by him? Never mind that 1/3rd of them sat in the can for one or more decades (or is it closer to 1/2 even? - my hunch is that it’s ~40%, if you include the BN Select material in the calculation). Or does he not even make this “also ran” list?

Thanks Bertrand! I’m definitely going to catch this one - my wife too, since she likes piano trios real well (she really dislikes saxophone, as you know - trumpet is hit-n-miss). Thanks again!

That might be one of the last 5-6 dates with (or by) T. Hino (specifically pre-1978), that I don’t yet have on CD. I’ve really gone crazy buying Hino titles over the last 4-5 years. I think I’ve got a little over 25 titles (maybe almost 30?), iirc. (That’s incl. sideman appearances). One more I’ll have to pick up soon-ish too.

What of Woody Shaw's post-1967 output would classify as being a 'stone classic'? Cuz if being 'widely known' is a requirement for consideration, I hesitate to even know what (if anything) might even qualify for consideration. Woody's not as obscure as Tina Brooks, but I fear he's a LOT closer to Tina, than he is Trane -- though perhaps not among those who've heard more than half-a-dozen Trane albums. Or Billy Harper, for that matter (who may not even be as well-known as Woody). Though with Billy, at least I feel like there's intrinsically 2 more obvious choices: 1) The 1973 Strata East version of "Capra Black" -- or else 2) the 1979 Soul Note version of "Priestess". But then again, finding anyone who knows Billy Harper or Woody Shaw these days, is like a needle in a haystack - sad to say.

Has anyone here read this book by guitarist John Klopotowski? - who was a student of Warne’s from 1982-87. A Jazz Life: Memoirs and studies drawn from experiences as a student of Warne Marsh, 1982-87 https://www.johnklopotowski.com/book On my phone as I’m also just discovering this extensive book “preview”... https://www.johnklopotowski.com/book-preview

Just stumbled on the "Tristano Robots" videos above on YouTube earlier today (not through this thread) -- way, way too funny!!

I had 90% of the Shaw Muse material on those godawful 32Jazz reissues, and I pre-ordered the Shaw Mosaic within 48 hours of being able to do so -- the very FIRST Mosaic I ever pre-ordered like that. Still, I think it's an absolute crime that an album like Shaw's Berliner Jazztage was never released here in the US on an individual CD (under its own title) - and therefore barely known by CD-buying listeners over the last 30-35 years. Also doesn't help that an album title like "Concert Ensemble at Berliner Jazztage" (or is it just "Berliner Jazztage"?) - doesn't exactly roll off the tongue either. In any case, that such a brilliant album is relegated to semi-obscurity is really an awful shame.

And many that did come out on CD can effectively only be found in those dreaded ‘32jazz’ releases - long after earlier more legit-looking earlier CD issues (if they were ever released pre-32jazz at all. It’s a crime that Woody Shaw’s Muse catalog suffered that way, and most of those titles became nearly impossible to readily find. Didn’t help that you had to decode which Woody Shaw titles corresponded to which retitled 33jazz 2-fers. Really a shame.

Surely something by Joe Henderson, but what? Album-wise, I'd argue for Power To The People (Milestone, 1969) as THE quintessential post-Trane (after July 17, 1967) Henderson leader-date. Or if we have to limit ourselves to individual tracks, then either "Black Narcissus" (arguably a standard?) -- and either "Power To The People" or maybe "Afro-Centric" -- all 3 from that same album. As essential as anything Joe recorded for Blue Note, imho. Just a touch of fusion, or at least electricity -- those are precisely the 3 tracks that Herbie plays electric piano on (he's on acoustic piano on the other 4 tracks). And Ron carter is on electric bass on "Power To The People" and "Afro-Centric" too - just those two tracks only.

Remind me — once Miles got on Columbia (and not pre-Columbia), is “Thisness” (circa June-July 1967) the only example of Miles backed by a piano trio specially in a studio situation, i.e. sans any other horns? I realize it’s just from a rehearsal (iirc), and from a mono reference tape at that. But that’s the only “other-horn”-less situation I can think of with Miles. (Live, of course there’s that Newport set from 1969, where Wayne was stuck in traffic - which I really love, btw.)

The infamous and searing 'Electric Guitar' version of "Kalahari" that I mentioned a couple posts above, is now on YouTube (wasn't before). Here 'tis! Does this ever smoke!!

Brand new copy at Dusty at the moment, for only $7.99. BTW, their verbiage (which is probably worth preserving here), reads thusly... A trippy little combo with a distinct post-Coltrane feel – stretching out here wonderfully, on a hip little session on a homegrown label! The group hail from the unlikely spot of Las Vegas – but they've got a deeply spiritual sound that rivals the best work on the coasts in the early 70s – a very searching, righteous sort of groove – crafted beautifully from the tenor sax lines of Rick Davis, and the sweet Fender Rhodes of Ron Feuer! The album's filled with long, exploratory tracks – tunes that are free, but never too much so – and the mixture of electric keys and tenor works nicely throughout – giving the album a really unique and unified feel that sets it apart from other small jazz sets of its type. All tunes are originals by the group – and titles include "Vibrations", "Starship", "Spirit Free", and "Isis Unveiled". CD features 3 bonus tracks too – "Horizon", "Starship (alt)", and "Dear Latin Friend". BTW, my take remains that 4 or 5 of the 8 tracks total (and the lengthiest ones) are really, really outstanding -- the 4 that I posted YouTube clips of upthread especially.