king ubu

Great news! So this closes gaps around and between the Columbia and Capitol sets, right? Begins with the new one (Decca), then on with the Columbia box, squeeze in the Carnegie Hall concert from the new one, and then on with the beginning of the Capitol set, then the MGM/Verve material from the new one, then the rest of the Capitol set. Do the three boxes cover the full ground for that period, or are there any (minor or substantial?) gaps left?

Just in case, over here, jazzmessengers seems to be the best source usually ... I have just completed the series (missing on a physicalc copy of the History set, which went OOP a while ago it seems) and am still waiting for delivery of the last one. The Ronnie's set may indeed be the essential, but I have yet to spend more time with some of the sets.

Well, not really: "Dizzy Gillespie Plays Salt Peanuts" would read okay on a record cover, too, wouldn't it? It's on two lines, after all. And now the next question would be, judging on the label, the artist/band would be "Dizzy Gillespie Plays", right?

Regarding Leonard Rose, haven't really started exploring that set, but he did the Bach sonatas with Gould and they're outstanding. Not much left on yt these days of that, it seems, though, but here's a snippet:

Well, sorry, I revived this thread because I bought the Stuttgart release, finally, and noticed the "someplace in Stuttgart" on the booklet again, so ... Either way, not too surprising what you say about reports of gigs in the late 70s/early 80s - I guess they were waiting (having almost used up the final oxygen supply) for Wynton/Crouch to save their souls

Used to, right? Nowadays more like 1962/63 (or even earlier) Trane, at least sound-wise ... but sometimes also lines-wise, I think.

Well, recording last (not first) night of a multi-night gig would probably be more the norm ... but then the meeting with Duke Jordan again sounds like a one-off ... no idea how these events really evolved.

Reading the other impressions here, my "quite good" may be explained by not being that much into Ches Smith ... I'd love to see a big-scale Parker/Holland thing, along the lines of the Intakt double disc that Parker did with Barry Guy - but quite possibly that could not better the Parker/Guy combination, so the idea mightn't be that smart ... Parker is still awesome these days, I've had multiple chances to catch him in the past few years, luckily (with Guy, with the Schlippenbach Trio - both with Lovens and Lytton, guesting with Decoy, with Globe Unity etc.).

Indeed - maybe Cables wasn't able to make the gig yet - Duke Jordan in Copenhagen, Levy in Velden, then Cables? Checking the Copenhagen booklet, Laurie's notes seem to support that: "That this date was more than usually groovy is a lucky accident that didn't seem so lucky at the time. We'd arrived in Europe without our pianist. it was Art's second long tour of Europe in a three-month period. He was at the top of his form, and at his age, with his bad health, he was at the end of his last and brightest comeback and he knew it. He was past exhaustion. Triumph and a desperation to do it all were carrying him; he was steadily writing, traveling, performing, recording. "Art traveled with his own band because he felt he could only say everything he had to say within the context of the tunes he wrote himself, and his charts were hard to play. They had to be rehearsed and lived with for a while. The absence, for the first few days of this tour, of George Cables, Art's regular accompanist, was going to make this Copenhagen date, he feared, lackluster. Even though Art looked forward to working with the sub, the legendary Duke Jordan, he didn't look forward to playing standards, and when Danmark's radio proposed recording the first of those nights, Art was annoyed. He didn't want to seem to be just another bebopper playing the usual things." Not sure how it all fits though, as "first of those nights" would usually refer to a multi-day gig at the Café Montmartre, not "first of the tour's nights" ... but if read like the later (which isn't impossible at all) it would make sense then, and the Velden gig the day after with yet another subbing piano player would make sense, too.

Checked the info I have (from the Pepper recording shared on Dime years ago) - and indeed, it seems the Velden gig took place a day later than scheduled according to the poster. My info says July 4, 1981 (which is not confirmed ... is there any Austrian daily paper that has a - digitally accessible to anyone reading here - archive to check this? Not that I assume newspapers at that time would have necessarily reported about all jazz concerts, but maybe there are updated ads or anything?) The recordings in circulation for which I have info handy are these: July 4, 1981 - Velden (Austria) July 6, 1981 - Genoa (Italy) July 7, 1981 - Vienne (France) The Genoa recording is an AUD, the others come from radio broadcasts. The March 1981 tour is much better documented in terms of recordings, it seems: May 12, 1981 - Leicester (UK) (AUD) May 13, 1981 - Slough (UK) (unknown source) May 14, 1981 - Croydon (UK) (BBC radio broadcast, released by Laurie as Vol. III of the series) May 19, 1981 - Paris (France) (Radio France RB) May 22, 1981 - Bruxelles (Belgium) (RB) May 24, 1981 - Stuttgart (Germany) (prob. RB from Süddeutscher Rundfunk/SDR, released by Laurie as Vol. V of the series) May 28, 1981 - Roma (Italy) (AUD) There are probably more but I'd need to search through various external drives ...

It's quite good but not a masterpiece in my opinion ... the best and most notable thing is that Holland gets involved in this kind of music again - and he still has the ear and abilities to so, no doubt about that! Parker is masterful as was to be expected. But the sheer amount of music is a bit too much for regular consumption.

Not sure what that list is about ... if you want people to vote, why not compile a list of (fasten yer seatbelts!) all jazz albums (and compilations if you want to include jazz before 1950 as well) ever released? Obviously no one would go through the pains and vote then, but like this it suggests a kind of poll/majority thing, but the basis for it is totally botched. Also, several albums are listed twice it seems (or the list keeps morphing while you add votes)?

Thanks all for this thread! I continue to be amazed by Gould's Bach (and Beethoven and other stuff, too), exactly because of what Larry chose the word "pecking" for. I adore the clarity and no-nonsensicalness of his approach when playing Bach solo (and the same applies to his album of English consort musicke - I know it's totally "wrong" in many aspects, but it's so darn good, why should I care?) ... I am always annoyed, when Bach performances are blurry (not when they are bubbly, mind me -- Blandine Rannou is fine with me, to name just one different and more contemporary approach). I want to hear the lines and the tones, I want to hear the architecture I guess, the structure.

'mkay ... something fishy there! Not sure I have any better info at home, but the Velden poster would indicate the Copenhagen release being mis-dated.

There were two tours in 1981, one in May and one a bit later in summer, I think (must be mentioned in the notes to the releases). Quick search yields among other things this (David Williams indeed): http://www.cyberseekers.com/s_211039-j.htm (nothing to buy there, so I hope the link is alright) -- The Copenhagen recording - with Duke Jordan sitting on piano - comes from the second tour as well: https://en.wikipedia.org/wiki/Art_Pepper_with_Duke_Jordan_in_Copenhagen_1981

The series is generally worth getting, that's for sure! And the booklets are fun, I actually enjoy reading Laurie's reminiscences whenever I stumble over them (should finally read her book, too).

I know ... the main reason I could provide info was that I knew the recording already (a radio broadcast that did make the rounds ...) I love the series and am saddened that the pace of actual CD releases has slowed down to a drizzle (and the fact that Laurie closed the "kitchen cabinet" which was kind of a subscription, without telling subscribers, sucked, too ... I kinda stopped following all the freebies and lone tracks that kept coming for a while, it all seemed to lack a concept more and more, alas).

I still wonder about that ... actually finally bought the Stuttgart Liederhalle concert - guess it took me so long to get over the ignunce ... and searching for this thread, I see that Laurie even asked the question a second time, a few weeks later, and got the very same reply and another possible source of information to reach out to by Big Beat Steve ...

I'm one of those that isn't usually bothered with warbly cymbal sounds but reacts strongly to foogly bass sounds - part of it, in my case, is problably that I love the bass in jazz (and pop) so much that it really makes me cringe ... but yeah, the Woody Shaw on Elemental suffers from badly sounding cymbals as well (they don't even mention what hall or location it was recorded in--bet Woody III knows but dosen't want us to know as much as he does ... the main notes are by Cuscuna as well btw --- and don't forget that Elemental is the label that did the amazing Giuffre 2-CD-set a couple of years back, it seems to be a spin-off or sister-label/project of Resonance in some way, so probably about as legit as it gets) - anyway with the Shaw, it was the drunk piano that I noticed (but it doesn't keep Mulgrew Miller from playing excellently).

Picked up the Lang/Venuti at the post office today ... packaged safely and everything in excellent condition

I like it quite some! The Tokyo set (with Tootie in great form) is under 40 minutes though, so they added two bonus tracks from roughly the same time ... second one is with the "Homecoming" band, Woody taking a break ... now more by that group would be great!

Thanks Chuck, will gladly check out her website!

done ordered

Interesting, thanks! Wasn't yet aware of that one! But there's a companion release on Dutch Jazz Archive, incl. tracks with Sims: https://www.jazzarchief.nl/en/product/lee-konitz-soot-sims/ I think some of this material was out on a vinyl bootleg I once was allowed to borrow from a friend's late dad ... very good to have some of it available in decent reissues! -- The Horace Silver is nice, too, btw! And so is the Basie (which duplicates most or all of the 2-disc-set that used to be on Trema/Laserlight) And the Q, and the Nat Cole/Q,

... which is why I think doing something like that on Intakt (as opposed to, I don't know who'd actually this in the classical world) is quite a good idea. On the label's site (linked) above you can sample the new disc. I'll check out the vimeo link later, thanks!