Late

That was my question too. The front cover notice —actually part of the cover art — of "license of original tapes" would seem to indicate something of significance. If the Giuffre Graz concert is any indication (that show was once deemed "unlistenable," but it turned out that the original tapes were in fine condition; the concert sounds great) then we may have reason to have high hopes. I've never owned a boot of this Coltrane show, so for me this is a no-brainer.

Who would you rank at the top?

Listening to (above) right now — excellent! Some of the falsetto ballads are exquisite.

Is this the first authorized release of these tapes? Hat Hut issues its first Coltrane disc — I wouldn't have expected the label to put out Coltrane, but why not! I'm in.

The rhythm sections that played for Miles get mentioned all the time. Coltrane's rhythm section(s) get mentioned. Tonight I was listening to, and really enjoying, Roy McCurdy's playing. Cannonball's rhythm sections were tight — not to mention the looming presence of Joe Zawinul. What configurations of Cannonball's rhythm sections do you find yourself noticing? Would you agree that Cannonball's rhythm sections go under-remarked?

The Poetic Bards have a copy right now.

More Aketa's Disk titles are being reissued in December through the Deep Jazz Reality series. The Shoji Aketagawa titles (those I've heard) are recommended. To me, he sounds like a blend of Jaki Byard and Cecil Taylor.

January 22, 2020 • 1148¥ 1. Tommy Flanagan: Eclypso 2. Mal Waldron Plays The Blues: Live At The Domicile 3. Takeo Moriyama: Green River 4. Marvin "Hannibal" Peterson: Hannibal In Antibes 5. John Scofield: Live 6. Phil Woods: Three For All 7. Gene Ammons: In Sweden 8. Yosuke Yamashita Trio: Clay 9. Jon Hendricks: Cloudburst 10. Eric Dolphy: Berlin Concerts 11. Dollar Brand: Good News From Africa 12. Bennie Wallace: The Fourteen Bar Blues 13. Prince Lasha: Inside Story 14. Randy Weston: Nuit Africaine 15. Archie Shepp & Mal Waldron: Left Alone Revisited 16. Pat Peterson: Introducing 17. Uli Lenz-Cecil McBee-Joe Chambers: Live At Sweet Basil 18. Bobby Jones: Hill Country Suite 19. Maria Joao & Aki Takase: Looking For Love 20. Woody Shaw: Lotus Flower

That's a bummer. There's still a ton of titles I haven't heard from the label. I imagine they'll be harder to find now.

Agreed on all accounts. It feels like another lost opportunity to reissue work that wasn't treated well by the CD era.

I wish there were a bootleg set covering 1971-1973. There are some well-recorded concerts out there.

Yes! Yosuke Yamashita's Clay. Hasn't been on compact disc since 1989. Can't wait. Will pick up the Waldron as well. I really, really wish Manfred Schoof's Distant Thunder on enja would be reissued. It's never been on compact disc.

I didn't know who Alice Darr was. Found this interesting article on her. I'm also unfamiliar with this one: And this one (with slightly disturbing cover art): I wonder what "Stereo-Pact!" was supposed to mean. Stereo-packed? Or a pact made with stereo?

December 11, 2019 - 1390¥ • CDSOL 46501 - Charlie Parker: The Happy Bird • CDSOL 46502 - Lester Young: Pres Is Blue • CDSOL 46503 - Joe Carroll: Man With A Happy Sound • CDSOL 46504 - Cecil Payne: The Connection • CDSOL 46505 - Duke Jordan & Sadik Hakim: East And West Jazz • CDSOL 46506 - Yusef Lateef: Lost In Sound • CDSOL 46507 - Pete Jolly: The Sensational Pete Jolly Gasses Everybody • CDSOL 46508 - Barney Kessel with Harold Land: El Tigre • CDSOL 46509 - Barry Miles: Miles of Genius • CDSOL 46510 - Charlie Parker: Birdology • CDSOL 46511 - Alice Darr: I Only Know How To Cry • CDSOL 46512 - Charlie Parker & Lester Young: At The Summit • CDSOL 46513 - Mundell Lowe: Satan In High Heels • CDSOL 46514 - Jerri Winters: Winters Again • CDSOL 46515 - Charlier Parker: Bird At The Apollo Apparently this is "Phase One" of a new reissue campaign of the Charlie Parker Records label. CDSOL is the prefix used by the Ultravybe label.

It appears that the original cover is being used. A description of Hamba Khale! from Our Friends: " ... dark and angular, but also filled with small flowers of hope, flowering in the spontaneous presence of these two great minds ... " It's nice to have records filled with small flowers.

Agreed. Probably somewhere between the two.

I think this is probably the case. The transfers are variable, but they're no worse than what you'd expect from historical recordings on labels like Document or Yazoo. The Johnny Rodriguez pictured above is one of the better transfers. I've only been stung a few times, where the transfer really got in the way of enjoyment of the music. For historical recordings of Cuban music, I'd confidently recommend the label. Generally speaking, the smaller the band (there are a lot of trio records), the better the transfer. Sound samples can be found on Allmusic, but you have to Google the disc's precise title + Allmusic to get to the actual page with 30 second sound files. (Or at least I did.) Searching for the label on Amazon or eBay can also prove difficult, but the list up above should help a lot. Here's what Amazon shows, with a lot of non-related titles in the mix. The Trio Matamoros discs are good; the Antonio Machin titles are also very good. (I would NOT buy Carlos Gardel titles on Harlequin; for Gardel, get the discs on the Nimbus label.) If you get into the music, and some surface noise doesn't bother you, there's a lot of exploring fun to be had. Weirdly, some of the oldest music on the label (1910's) has the best transfers.

Bam.

A mid-70's occasion where Sonny Fortune is soaring. (There used to be a longer version of this on YouTube, but I couldn't find it.)

On The Cellar Door set, when Miles plays, Keith defers to him. When Bartz plays, Keith ramps it up (so DeJohnette does too), and they tend to swallow the alto sound. My impression at least. Not wanting to bash Bartz, the guy can play, but that band could sense tentativeness.

I know this is a Discography thread, but what the heck (hope you don't mind). This one is great: Anyone else collect this label?

Then you must own this, if you don't already. This 4-CD set might seem like overkill at first, but with each session Buckner gets progressively ... weirder? This, rest assured, is a good thing. I picture Jimmy Smith, Big John, Shirley, and Johnny Hammond all over at Shirley's house in the summer of 1973 for vegetarian lasagna and piña coladas. They put on some of these records and start cracking up — not because they're laughing at Milt, but because they're laughing with Milt. That should've been the title of one of Milt's records: Laughing With Milt. The guy exuded optimism, sly humor, and swagger in equal doses. Perfect music for pool parties (as Shirley well knew).

I think I hear what you're saying. Maybe it's not a case of the saxophonists losing their individuality, but rather that Miles' bands from that period had less and less a saxophone-focused sound. After Coltrane, after Wayne, keyboards and guitars (generally speaking) become the dominant sound, with Miles on top and Michael Henderson moving a bass line much differently than Dave Holland. David Liebman often cites the story about not feeling relevant in Miles' band, and asking Miles why he should stay. And Miles replies: people like to see your fingers move fast. While perhaps too reductionist, that does seem to sum up the role of the saxophonist — even despite killer solos in Agharta and Pangaea, among others — in the post Bitches Brew era. I owned the post Bitches Brew stuff a long time before I became familiar with it. I always wanted "to get to it," and then didn't — for years. When I finally got to it — listening, say, to the On The Corner sessions for three months straight, at home and in the car — I finally understood the hype. Wasn't hype. Just amazing music. Oops — this is a Billy Harper thread!

Elvin Jones, 1968-1972, is killer stuff. For organ grooves, I'd go with Big John first. Lee Morgan's last album is important too.

I'd purchase that Mosaic too, but I think the chances are slim. The work on Moers is fantastic. I bet Cuscuna would even be enthusiastic, but I don't think Mosaic's direction is headed that way. There aren't enough Louis Armstrong, Duke Ellington, or Woody Herman Mosaics yet.