Late

"For Jazz Buffs"

Yes! Originally Casual Affair, I believe. It has excellent Dorham on it indeed. He kind of sounds like Chet on this record.

At the age of 31 I believe. 😔 Not too many trumpet players, it seems, directly list Dorham as an influence, while many are fans. I met Tim Hagans once, and he put Kenny on top of his list ("tied" with Freddie Hubbard, he said). I believe Don Sickler is a big fan as well. And I think Kenny, as opposed to Miles, was who Chet Baker listed as an influence. Tangential question—what would you list as the least well-known Dorham record, either leader or sideman? Cecil Payne's Zodiac perhaps? I need to listen to that one again.

I imagine those are pretty scarce these days. I wonder how many were in the initial runs.

That's one of the album's best tracks. 👌 Eddie Matthias on Discogs. Outside of work with Dorham, he recorded with Roland Kirk and Rusty Bryant, but not too many others. I wondered at first if "Eddie Matthias" might for some reason be a nom de plume for Eddie de Haas, but I guess not. 1958?

That is a great track. (I've only heard it through YouTube.)

For some reason, this album often makes me think of/want to play Lee Konitz's Motion. Also interesting (well, to me) that this record pre-dates Ornette's piano-less recordings (and post-dates Mulligan's).

Aha! I only have the album in my iTunes. But I located and ordered a physical copy just yesterday—so now I can finally read about this mysterious Bunsen. 😉

I don't think so. The Shirley tracks have appeared on some UK comps. The Bernhardt tracks have appeared on a Fresh Sounds CD, and the Markham...I'm not sure. The Vic Dickenson tracks...have they appeared anywhere else? Perhaps the Japanese market will reconsider these "lost" tracks for reissue upon Blue Note's centennial. We'll just have to stick around for 16 more years. 😛🤔 That box set is probably the best way to comprehensively hear the early years of Blue Note.

...and the cover art. Is that a paint can covered with plastic wrap? An ominous totem from Lord of The Rings? Or maybe someone stepped on Kenny's bell?

What do you all think of this Dorham record? Sometimes I love it, and other times it feels like it's missing something. Also, sometimes Ernie Henry sounds to me like a more diatonic Ornette Coleman—or, put another way, an Ornette Coleman more invested in wanting to play changes. Opinions on the record welcome. I think Max Roach had words (positive) about this record. G.T. Hogan sounds a lot like Blakey on this record.

About an hour's worth. Maybe a little over. The music on that 1990 Japanese box set (linked above) that was never on a Mosaic set is quite good.

Order arrived earlier than expected, and in excellent condition. 👍 Thanks!! Looking forward to "B" and "C"...😁

But, as Colin indicated, why Out To Lunch? Why the Prestige recordings of Miles Davis? Hard to understand, at least from a collector's point of view, a rationale for those "reissues." If recordings up to 1972 are public domain in Switzerland, my goodness—so many great records that have never seen (or likely ever will see) a digital release could have been produced. The first release on ezz-thetics was fully authorized, never previously available, and wonderful. Had the label followed that path (jazz-detective-ing for unreleased concerts)—that would truly have been something. (How else could we finally hear Giuffre's 1961 Tübingen concert?) (Besides the Tübingen concert being on YouTube in a rough transfer.)

It sucks that this album probably won't be reissued in full—unless there's a curveball out of nowhere. Five of the 10 tracks were collected on a recent Paul Bley Plays Annette Peacock compilation disc. The omissions are great tracks.

(reissue cover) Blood The Ornette cover is bangin'.

Paul Bley & Annette Peacock: Live In Vienna, 1970. Sun Ra would have approved.

The entire ezz-thetics catalog has been pulled from Bandcamp.

2018 New Yorker Article on Annette Peacock. An examination of her 80's albums. 👍

They're pretty good. Click here. First four tracks. "Cracklin Bread" is especially tasty.

I'm jealous! 🙃😉 What a great way to compile this period of Blue Note. I believe Cuscuna is particularly fond of the two Jimmy Shirley tracks.

I've heard neither, but would very much like to. 👍 After further internet sleuthing, my conclusion [corrections welcome] is that the first 1987 OJC of Boss Tenor was a mono fold-down of the stereo master. Not sure why that made it out onto the market. It was soon replaced by a stereo edition OJC, which notably states "STEREO" on the CD spine. In a parallel case, the OJC of Blue Gene has a special note, in caps-lock, on the back of the CD: "ALL PREVIOUS EDITIONS OF THIS ALBUM HAVE BEEN MONAURAL. HOWEVER, NEWLY DISCOVERED TRUE STEREO MASTER TAPES MAKE POSSIBLE THE PREMIER RELEASE OF THESE SESSIONS IN STEREO." Was Rudy perhaps making mono fold-downs at the time (late 50's/early 60's) for the listening market of the day? I don't know enough about Van Gelder's transition from mono to stereo recording.

I wish this would get reissued. Probably won't happen, but maybe in 2039? Alamo "Pigmeat" Markham was a Blue Note recording artist!

I listened to this album again today—so, so good. It's hard to describe Cobb. Elemental? Supernatural? Perfect? And..."Wild Bill" Davis—what great comping. Jabs like a boxer, and at just the right time. I also love that the compact disc edition lists him by his middle name: Strethen Davis. Is anybody named "Strethen" these days? Then I played Party Time. My word—that sound! Talk about blues-drenched. Arnett Cobb never really needed substitute chord changes. The overtones alone took care of that.

Speak No Evil helped me get through high school. I think I played it every morning before going to school my senior year. My undergrad college years were consumed by Miles, which of course included Wayne. This album helped me get through graduate school: