Late

Wow! Thanks for sharing that link. I'd never heard Azar Lawrence with Elvin's working band before. He fits right in. I imagine, if he hadn't been with McCoy, Elvin would've hired him. I hope so, but I wouldn't be surprised if the Japanese market put out a straight reissue of the original set, as is. The edits, to my knowledge, trim about 10-12 seconds from just a few songs. One edit (the track "The Prime Element"), however, does trim over 2 minutes. It would be nice if the three "bonus" tracks mentioned above could be placed on this new 2-disc set. Fingers crossed! ============================= April 1, 1973 • "New Moon" Steve Grossman: tenor saxophone Azar Lawrence: soprano saxophone Gene Perla: bass Elvin Jones: drums Famous Ballroom • Baltimore, Maryland ============================== Holy sh*t—I've never heard Grossman play quite like this. Really, really fine.

Exactly. I've made Lester Young "albums" (playlists) collected solely from alternate takes. It makes for interesting A/B listening with the "real" album.

Tomeka Reid interviews Abdul Wadud. (With Joel Wanek.)

(Larry has! )

Just listened to this album in its entirety. It'd been a while—much better than I remember, particularly Miles' playing. Coltrane is still getting it together it seems—the ideas are there, but not always the execution of those ideas.

Elvin! I think this is one of Riverside's best-recorded albums.

Did he only make five covers for Prestige?

Cool and haunting at the same time. I like this one too:

If I didn't already have all the albums, this is probably how I would purchase them now. Shame that Blue Moods couldn't have been included, but it was on Debut. So, this set has all of Collector's Items, the two bonus tracks from Dig, and all of Blue Moods. That's a good listen.

Much agreed. Walkin' has some of the Schildkraut session, and it also (from a different session) has some fine Lucky Thompson. I also really like Kenny Clarke with Miles. He had a certain way of hitting the ride cymbal—you know it's him. (Okay, sometimes I mistake his cymbal sound with that of Roy Haynes. )

I believe this was actually released on compact disc, circa 2007. I didn't pick up a copy, but wish I had.

I'm interested in discussing Miles' Prestige LPs before "The First Great Quintet." I often forget how many albums (nine!) Miles recorded before he hired Coltrane. (Of these nine albums, yes, one of them does have a track with Coltrane on it. And, yes, some of the albums originally appeared in 10-inch configurations.) • Of these first nine Prestige recordings, which do you return to the most? I've been listening closely to the Schildkraut (Blue Haze) session lately, and am impressed all over again with Mile's sound and tonal control. He also (I'm pretty sure) isn't using a Harmon mute. It sounds to me like a cardboard straight mute, which produces a beautiful sound—one Miles seems not to have returned to after this session. (Trumpet players, do correct me if I'm wrong!) • Who listens to And Horns? I like that album, but probably listen to it the least. I also need to listen to Quintet/Sextet more—I like the way that album was recorded. Discuss your favorites!

On the topic of Elvin, his debut album (for Riverside) seems overlooked. Besides being beautifully recorded, it has interesting compositions, Thad and Hank aboard, AND both Franks—Foster & Wess. I'm listening to an early Japanese edition as I type, and the stereo sound is amazing. Frank Foster isn't fully under the Coltrane spell, and Wess is impeccable on flute. And Elvin on brushes—the first nine seconds of the album...I've actually played on repeat more than once. Anyone listen to this album recently?

Just buy this one.

Boperation ...

Noooooo! Carpe diem --> Edith North Johnson.

So...now I'm thinking the two albums mentioned in the original post do indeed overlap. (Happy to be proved wrong otherwise though.) 1800¥ comes out to (today at least) $12.59. Not too bad. Yes, shipping is steep, but everything tends to get averaged out.

This Is How I Feel About Jazz

Those, I believe, are distinct tracks. Correction! I just checked Discogs. I think they ARE the same track (same recording). Mr. Jones

Already discussed on this board, there's an upcoming archival release of Elvin Jones on Blue Note (Live At Pookie's). The Japanese market is also reissuing nine titles of Elvin Jones' Blue Note output (also discussed). The nine titles are: 1. Puttin' It Together 2. The Ultimate 3. Poly-Currents 4. Coalition 5. Genesis 6. Merry-Go-Round 7. Mr. Jones 8. At This Point In Time 9. The Prime Element (2 CD) My question is, if you purchase The Prime Element, are you also purchasing At This Point In Time, minus three tracks? (Information below from Discogs.) 1. At This Point In Time (7:32) 2. Currents/Pollen (11:12) 3. The Prime Element (8:16) 4. Whims of Bal (12:22) 5. Pauke Tanz (6:32) 6. The Unknighted Nations (6:25) 7. Don't Cry (7:41) 1. At This Point In Time (7:30) 2. Currents/Pollen (11:08) 3. The Prime Element (6:14) 4. Whims of Bal (12:22) 5. Inner Space (6:28) 6. Once I Loved (6:18) 7. Raynay (7:54) 8. Champagne Baby (10:20) 9. Dido Afrique (11:14) Do these two titles duplicate the first four tracks? If so, that's kinda odd. Not unexpected from the Japanese market (album integrity), but still—a little odd. It seems like The Prime Element could have squeezed the last three tracks from At This Point In Time onto a 2-disc set. There's probably enough room (I think). Pauke Tanz The Unknighted Nations Don't Cry

I didn't realize/know until today that Wayne Dockery's older brother was Sam Dockery, the pianist. Dig Wayne with Charles Tolliver in France, 1971:

“Yeah, some people didn’t even know that I was doing that [using both names]. Even to the days where I was doing Broadway and studio recordings and R&B shows [when I] came into New York and what have you. I was doing my avant-garde career simultaneously and people didn’t know that I was doing that. A couple of my peers would say ... Warren Smith, the percussionist, he came up and he said, ‘I keep hearing about this Abdul Wadud guy playing cello’–because I was using Ron DeVaughn during the classical stuff. He said, ‘Do you know this guy Abdul Wadud?’ I said, ‘Yeah, that’s me.’ He said, ‘Oh no man, that ain’t you.’ I said, ‘Yeah it is.’ It’s funny, I had a student when I was teaching and he said, ‘Can you teach me how to play like that Abdul Wadud?’ I said, ‘I am Abdul Wadud.’ He said, ‘No you’re not.’ I said, ‘Yes I am.’ I had to pull out these albums and what not to show him. He started laughing. He said, ‘Why are you teaching me classical style? I want to learn how to do the other stuff.’ I said, ‘Well, you can do both.’ — Abdul Wadud

Listening to that short musical excerpt on Instagram, it's clear how connected Hemphill and Wadud were. I hear their musical partnership on par with Ornette and Cherry's. Or John Carter and Bobby Bradford.

The first time I heard Wadud was on Julius Hemphill's Dogon A.D. I was around 25. That sound became permanently etched in my memory. If I remember correctly, there was a time, after leaving Oberlin, that Wadud took a fair number of classical gigs—and still went by Ron DeVaughn. Abdul Wadud for improvised music, but his birthname for the tux work.

Paquito sounds at times like a lost heir to Dolphy.