Swinging Swede

Sure. But it is dangerous to change history. If you buy one, some other board member's copy will instantly disappear from his shelf. And he won't be happy!

Yep, two earlier versions. I checked with Internet Archive's Wayback Machine, and the first one seems to have been active in 1999-2003: Mosaic site in 1999 Mosaic site in 2003 Then there was the second one which only seems to have been used in 2003-04: Mosaic site in 2004 Then the third version was used in 2004-07 and this is what has been called the old design in this thread. And now we have the fourth version. What was wrong with the older ones anyway?

I thought the old look was the new look. I remember an earlier one. Or possibly even two earlier ones?

How about the first two on the member list: Д.Д. and δήμητρα ?

Some more thoughts. This must have been the tour on which Charlie Rouse, who then was Ellington's regular tenorist, couldn't follow the band to Europe because he couldn't get a passport in time. I wonder if Don Byas substituted for him the entire tour? Hearing Byas with the Ellington band is in any case another major point of this release. Only later that year did Paul Gonsalves join. Noticeable is also trumpeter Al Killian's presence, since he was murdered just a few months later. Is this his last recording? Coincidentally, a common link between Byas, Gonsalves and Killian is that all three previously had played in the Basie band.

Wow! I had not heard about this before. From the site: "Miracles happen. This recording was found by accident in a drawer...and it is an unbelievable recording. The performance of the Duke Ellington Orchestra on the night of may 2, 1950 at the Kongresshaus in Zurich, Switzerland is absolutely outstanding. On top, the recording quality is sensational. This CD is an absolute must and not only for Ellington fans. Even though this music was recorded some 57 years ago it sounds so fresh like it was yesterday. I am happy to be able to present this historic document to you." The Ellington band was little recorded at this time. If the recording quality is sensational as they say (and the performance outstanding to boot), I would say this is a major Ellington find.

Milan's keeper Dida seriously injured by Celtic fan ... or maybe not ... http://www.youtube.com/watch?v=LB86HjeXa1A

Yes, it has been out on CD before on the Magnetic label. I think I used to see Magnetic CDs in circa the early 90s, but they are in any case long OOP. It was a bootleg label, but at least those were original boots. I'm sure the Gambit CDs are just rips of the Magnetic CDs. The Paris set that randyhersom mentions was also on Magnetic, by the way. The Pablo Live Trane set is a discographical mess, and even includes tracks that are actually from Birdland. The tracks that are claimed to be from this Paris concert are in fact not, so there is no overlap.

Here's another genius: Man Bitten By Rattlesnake After Putting It in His Mouth Wednesday, September 19, 2007 Associated Press PORTLAND, Ore. — Snake collector Matt Wilkinson of Portland grabbed a 20-inch rattler from the highway near Maupin, and three weeks later, to impress his ex-girlfriend, he stuck the serpent in his mouth. He was soon near death with a swollen tongue that blocked his throat. Trauma doctors at the Oregon Health and Science University saved his life. "You can assume alcohol was involved," he said. Actually, not just beer. It was something he called a "mixture of stupid stuff." Calls from cable network television stations poured in Tuesday, when he still had sore muscles and nerves from the venom. It happened at a barbecue with friends. Wilkinson, 23, had downed a six-pack and his ex-girlfriend asked him for a beer. He handed her one, not realizing the snake was also in his hand. "She said, 'Get that thing out of my face,'" Wilkinson said. "I told her it was a nice snake. 'Nothing can happen. Watch.'" So he stuck the snake in his mouth. "It got a hold of my tongue," he said. He was having breathing problems when his ex-girlfriend drove him to the hospital. "She was the only one sober," Wilkinson said. En route, they spotted a police car and asked for help. His next memory, he said, was waking up at the hospital. Doctors could not get a breathing tube down his throat. Dr. Richard Mullins cut a hole in Wilkinson's neck to insert the breathing tube. Physicians started giving antivenin, moved him to intensive care and kept him sedated until the swelling went down. The Poison Control Center sees about 50 people a year with snake bites, usually hikers. Deaths from rattlesnake bites in Oregon are extremely rare. Wilkinson, who works in construction, has yet to return to work. His three Western diamondback rattlers have been removed from his home. He says co-workers have been pretty blunt. "They were like, 'What the heck were you thinking?'" Wilkinson said. The answer? "It's my own stupidity."

There certainly was a jam session just hours before Brownie's death, which the drummer could reminisce about. However, that is not the one on the Columbia album! Even the liner notes say that this session wasn't Clifford's first at Music City, and that usually a tape recorder would be in action, and indeed this recording must be an earlier one. The reason it can't be 25th June 1956 is that tenorist Billy Root, who is present on the recording, was on tour with Stan Kenton at the time of Clifford's death. It thus has to be an earlier occasion. According to my notes researcher Alan Hood reported the date to be 31st May 1955 in the November 1996 Jazz Journal International (p.18).

Not that close really, since it was recorded on 31st May 1955, over a year before his death. Which takes nothing away from the music, of course.

I don't remember anything more specific than that. Don't think much more info was given. This may have been on the old BNBB or even the All About Jazz board. Since it was pretty much the same people posting on the old BNBB and then here, I must say I generally find it difficult to keep track of whether a discussion that happened years ago took place before or after the migration. Perhaps some other member knows more? At least the Clifford & Dolphy tapes came out.

This question has come up before. The info provided then was that a recording does exist, but the audio quality is very bad.

He said that everything he's gonna do gonna be funky. At least from now on.

That's what I've read about it, probably on one of the jazz boards. I did a Google search now and came up with this All About Jazz post from 2005. It's not necessarily the one I read, but it says the same thing: "Writing about Tubby's recordings with American jazz musicians I should of course have mentioned Tubbs In New York, the super album he recorded during his first Stateside visit in 1961. Originally issued in the UK on the Fontana label (and in the USA on Epic) the album certainly ranks among Tubby's best, so it's a crying shame that it hasn't yet appeared in Universal Japan's CD reissue programme. This absense may well be explained by the copyright issues surrounding exactly who owns the album. A CD reissue of the complete October 1961 sessions which appeared in 1990 on the CBS label (Tubby Hayes with Clark Terry - The New York Sessions; CBS 466363 2) was swiftly withdrawn after a bit of legal wrangling. Epic (part of CBS) may have recorded the album but technically it was a Fontana production, which must mean that it is now under the banner of Universal." http://forums.allaboutjazz.com/showpost.ph...p;postcount=288 So it seems that this case is analogous to Miles Davis's Lift To The Scaffold soundtrack recording which was originally released as half of the Columbia Jazz Track album, but now is being reissued by Verve. As for myself, I bought the CD in 1990, directly after it came out, and since that was in the pre-Internet days I had no idea about what had happened afterwards until I read about it. The European copies, by the way, said "CBS Jazz Masterpieces", since they weren't allowed to use the "Columbia" name in Europe.

This CD was withdrawn shortly after release since it turned out that Columbia didn't have the rights to the recordings. That's why it is so rare.

So, which is the next set to go OOP? The Johnny Hodges because it's Verve? (The later Max Roach and Gerry Mulligan sets have already gone OOP.) Gerald Wilson? HRS? I'm thinking of using this offer to buy the next endangered set earlier, but I don't want to buy one set, and then one or two others hit the running low list and I won't be able to afford them. Have been buying too many OOP OJCs lately for that.

The information provided by Verve is so bare-boned that it's not possible to know what they are. That's why he's asking!

Not a stupid question. Three of the tracks overlap, but the other three don't, as MG mentioned. It could simply be that when Verve didn't want to release it, some of the tunes were rerecorded at a later session (not uncommon when the first session remains unissued). But that begs the question: If not Verve, then what label was Iron City recorded for? It was released years later on Cobblestone, but Cobblestone did not exist in 1965. And yet it is a professional studio recording. So what label could it have been recorded for?

It is my understanding that they do have copies remaining of these titles, but only a very limited amount, and have no plans of repressing them, so perhaps they are thinking that they earn more by selling the last copies directly to customers than by selling them to Amazon. Either that or they once again don't know what they are doing (like releasing Kirk's Work twice within a few months)!

Sometimes those premium price copies can be found among other marketplace copies going for much less. I think these sellers are simpy waiting for other copies to sell out (which could happen rather fast for OOP titles), after which their copies will be the only option. I have to wonder though if a +300€ copy ever will be sold.

You guys are all wrong. It was Orrin Keepnews who recorded Trane with Monk, an affiliation that was crucial in Coltrane's development leading up to this session. So the one to really thank is Orrin Keepnews!

"In 1992, in Gramophone, the critic Bryce Morrison found that Yefim Bronfman’s Rachmaninoff Third Concerto lacked “the sort of angst or urgency that has endeared Rachmaninov to millions” and that “Bronfman sounds oddly unmoved by Rachmaninov ’s intensely slavonic idiom. In the sunset coda of the Adagio his playing is devoid of glamour and in the finale’s fugue he lacks crispness and definition.” Fifteen years later, he wrote of Hatto’s release of the same recording: “stunning . . . truly great . . . among the finest on record . . . with a special sense of its Slavic melancholy.”"

In case some of you missed it, the Urbie Green was recently reissued on this Fresh Sound CD: In addition to the Blue Note 10-incher, it also contains his Vanguard 10-incher, as well as all but one track from his Bethlehem 12" album. Love Locked Out seems to be missing from the latter. Oh well, that album has been reissued in full on its own anyway, so the Fresh Sound in any case at least combines two complete 10" albums. With this I believe all Blue Note 10" albums (not counting leased material) have come out on CD.

Let me see if I understand this. The OJC of Kirk's Work has been available since 1991. Then in May 2007 they release an RVG of it. And now, just months later they release it again on a twofer???? You are absolutely right, they obviously have no clue what they are doing. Perhaps someone happened upon the master tapes for the 70s twofers, then compared the titles with a list of the OJC titles, and found that Pre-Rahsaan and the others were titles currently not available, and thought that the jazz community would be very grateful for Concord releasing these previously unavailable titles on CD... If I had a say, Concord would release twofers of still unreissued albums by people like Gene Ammons, Willis Jackson, Don Patterson and Shirley Scott. There is still stuff from in particular the Prestige catalogue that should see the light of day.