Late

Check out Joe's OOP Linear B on hatART here.

No note of a trio that played Ronnie Scott's in my discography, but there is this listing: Ronnie Scott's London, England March 3-4, 1966 Sonny Rollins: tenor saxophone Stan Tracey: piano Freddy Logan: bass Bill Eyden: drums (March 3rd) Louis Hayes: drums (March 4th) Apparently, a private tape of this gig exists. Maybe Tracey has it, or Scott's estate?

Nice one, couw! And I can imagine the Impulse! logo right after the "You." (BTW, the original cover of There Will Never Be Another You is very cheesy.)

I thought that was Charles Lloyd?

Thanks for the link, Claude! Great sound samples ... forcing me to ... ka-ching!

Up for some additions. (Still waiting for couw or AB to create the Impulse! There Will Never Be Another You cover. )

I've read that too, and now (too) can't exactly remember where. (And, though you already likely know, my reverence for Rivers is huge ... too.) I'm eagerly awaiting the Seven Steps to Brooklyn ( ) set.

Tower has this, sealed, for $11.99 right now. Damn! This was "low-stock" a few seconds ago ... and now it's the infamous "special order." You guys act fast on the tips! I didn't know that Tower's system updated that quickly.

And here's Joe McPhee's OOP Linear B! $11.99. Go figure.

Tower has this, sealed, for $11.99 right now.

Believe it or not, Tower online carries OOP hatART titles from time to time — and ... they're "in stock," not just special order. I purchased Braxton's 2-disc Creative Orchestra (Köln) 1978 concert from them in January for original retail. Also purchased a number of OOP Lacy hatART's there for $11.99 about two years ago. The OOP hatART title I'm still looking for is Lacy's Futurities I!

Two Ornette compositions that, to me, should have been included on the original Atlantic releases, and that equal the beauty and authenticity of his other, more noted compositions are: • Rise and Shine • I Heard it Over the Radio (which was retitled for the Golden Circle concert)

Good questions. I'd guess that Miles probably wanted Shorter over Rivers (so to speak) for the band. It did cause Miles some consternation when Coltrane left the band, but it doesn't have seemed to (from the little I know) when Rivers left. Maybe we'll never really know (and that's probably OK). Do you think it might be possible that Rivers' reflections on his stay with the band could be tinged with revisionism? To me at least, that's not out of the question. Who would want to say "I just didn't really feel comfortable in the band of ... Miles Davis"?

Oh. The interview you Googled up kinda deflates some of my "theories"? I still wonder what Miles actually would have said about Rivers' playing.

I've often wondered about this musical relationship as well. I actually don't think it's reductive, though, to simply say that their musical visions didn't gel. My guess is that Miles just didn't like Sam's playing. Now that sounds really reductive, and maybe it is, but it could be the simple truth. (Miles was on record, publicly, as not caring for Dolphy's or Ornette's playing, so it's not too surprising to me to imagine him not caring for Rivers' playing.) A reverse scenario is interesting to consider: How well would Miles have fit in for the recording of Dimensions & Extensions, or, for that matter, Tony Williams' Spring? I think Miles' musical training, as strange as this is going to sound, often prevented him from "hearing" certain musical contexts. Here's one quote from Miles on Ornette (for relativity): "Hell, just listen to what he writes and how he plays. If you're talking psychologically, the man is all screwed up inside." Jazz Masters of the 50's And another (this time for a DownBeat Blindfold Test on Cecil Taylor's "Lena"): "Take it off! That's some sad shit, man. In the first place, I hear some Charlie Parker clichés. They don't even fit. Is that what the critics are digging? ... Just to take something like that and say it's great, because there ain't nothing to listen to, that's like going out and getting a prostitute. ... I can tell he's influenced by Duke, but to put the loud pedal on the piano and make a run is very old-fashioned to me. ... That's the reason I don't buy any records." Now, we all know that Davis was (surely) outspoken, but this (just as surely) didn't negate his opinions. It's strange. For as much as he didn't seem to appreciate Rivers' playing, he did appreciate George Coleman's ... but Tony Williams didn't, and there went George (more or less). Good question!

At last! Great choice. One thing I always forget about this album: the largest configuration here is only a sextet. For some reason, with all the colors Russell gets out of the ensemble, it sometimes feels like a nonet or larger. I'll go out on a limb here and say that, for "jazz" recordings, this album may be the most harmonically advanced of its time (1956). I also can't think of any other albums previous to this one that could stand as a musical precedent or model. It seems to have simply occurred, fully formed, on the scene. Now, that is likely not the case, as I'm sure Russell had his mentors and influences, but, at least discographically speaking, it does seem the case. I don't understand the Lydian Chromatic Concept (of Tonal Organization) that well, but I think I'm hearing a fair amount of "fourthy" chording, which Russell may have first heard in Stravinsky's writing? Maybe someone more musically trained can clue me in. What is your favorite track from this recording?

Also wanted to say that those Eddie Gale's (both of them) never fail to put me in a good mood. Thank goodness Water had the good vision to get them out to the public. Great music, great sound, great packaging.

I e-mailed Water about the Cox titles, but it seems they have a policy of not responding to unsolicited e-mails? Maybe if more posters here sent them (courteous) e-mails about the possibility of licensing the Cox titles from Blue Note ... who knows, maybe they'd see a demand for a product that Blue Note might not!

Thanks for linking that. It is a good review, with little Jurek slobber! I have to admit to playing Crystals less than Rivers' Blue Notes, but whenever I do, I always think "I need to play this one more!" What, exactly, of Rivers' Impulse! work has made it onto disc? Here's what I think is out: • Streams (now long OOP?) • Trio Live (which culls from various Rivers' Impulse! titles, I think; don't have this one) • Crystals Any others, and any others that you'd like to see out (or that should be out)?

It does groove, which I think is a huge accomplishment for such an "avant garde" session. Robert Palmer, in the notes to this album, nailed it when he said: "Rarely has atonality in jazz writing sounded this warm."

... and now, in its Japanese incarnation (with even more bonus tracks from Freeman sessions), it's 71:42! 21 tracks in all. And, the "Crutch for the Crab" track now has the entire introduction (dubbed from LP as the original master tape is evidently stretched beyond repair).

Another vote for the I-just-don't-care-for-those-vocals camp. Still, looks like a great Mosaic. I do like to imagine what a vocal-less compilation of this would be like, though! It would probably defeat the purpose of Mosaic in general, but wouldn't it be interesting if with every new Mosaic release, a simultaneous "best-of" single disc from the box were released? I wonder if that would help or hurt sales of certain (especially larger) boxes.

Town Hall, 1972 Was there a power outage during the concert? (Seriously, though I haven't heard this set, great cover.)

That is a great album, Alan. I especially like the (previously unissued) version of "Troubles." Lacy sings! Have any of you picked up this one? What's it like?

Who is "Reginal" Workman? Is he a "genious"?