Late

Miles should've hired Billy for the Cellar Door gig. 1970.

I really like this label. HQCD 90, Orquesta Tipica Victor: 1926-1931, is one of my favorites. A great label for tango and Cuban music. Last year around December, for whatever reasons, Amazon had a number of Harlequin titles priced at $2.99 and $3.99 with free shipping over $25. I purchased about seven titles.

I'd start with other albums first. The Haarlem tracks are relatively long, but Bley's playing is always full of surprise. I'd suggest: 1. Closer (ESP) — for me, the perfect "start here" with Bley; if you like it, you'll want to keep going; also, for ESP, it's well-recorded 2. Footloose (Savoy) — chronologically before the ESP session, but excellent playing; the original recording doesn't sound that great; try to find the "complete" sessions as the original LP left off quite a few tracks 3. With Gary Peacock (ECM) — this album doesn't sound like an "ECM" album; great playing, and Bley has already solidly established his sound If those three records resonate with you, then there's a ton more to explore. His earlier (1954?) record for Mercury is quite good.

These will be reissues that last only for a small handful of months on the Japanese market. I wish Ric Colbeck's The Sun Is Coming Up would have been included in the list. It was at one time (a few years ago) and then was cancelled. That, and Marion Brown's Le Temps Fou (also cancelled). I've pre-ordered the Brown and Barbieri/Brand from CD Japan, who have them up on their site.

A great record, though I find Simmons' own contributions somewhat restrained next to Barbara Donald, possibly because of the presence of piano in the rhythm section. I think Rumasuma was Donald's shining hour. It gives me the impression of what Booker Little might have sounded like had he lived into the late 60's. I agree that all the Mosaic box set suggestions here are probably largely fantasy, but hey — that's what boards like this are for! I do think, however, that smaller boutique labels like No Business (out of Lithuania) might be the perfect candidate to reissue a recording on the Moers label to attract new listeners. That solo Carter record on Moers (actually out on compact disc at one time) is absolutely crushing. Easily up there with Braxton's For Alto or Evan Parker's solo records. I think, ultimately, it's gonna take someone like Jonathan Horwich to reissue these type of records. Mosaic has some catching up to do with Armstrong, Basie, and Herman sets, so they're occupied.

Yes. Bill Barron isn't an artist still living today, but his ghost is. The Mosaic could be: THE COMPLETE BILL BARRON 1961-1972 SESSIONS The set wouldn't be too large (4 discs? 5?) and would draw from only four labels: Savoy, Dauntless, Diplomat, and Dragon. (There are more recordings circa 1966 from Sweden, however, and perhaps they could be unearthed. Radio broadcasts?) And if you wanted to go past 1972, you'd hop straight to 1978 and start with the Muse label. That said, I'd very happily purchase a Billy Harper set. Even if it were, say, nine discs.

November 22, 2019: • Marion Brown: Porto Novo (original UK cover) • Paul Bley: In Haarlem • Gato Barbieri & Dollar Brand: Hamba Khale! December 11, 2019 • Julius Hemphill: Dogon AD (original MBARI cover) • Human Arts Ensemble: Under the Sun (original pink Universal Justice Records cover) • Oliver Lake: NTU - Point From Which Creation Begins (Arista cover) All in mini-LP format on the Taiwanese MUZAK label. Some information here. Hamba Khale has been slotted for reissue many, many times. I hope this Muzak edition becomes a reality. Killer album. I also hope the original Togetherness cover gets used:

Picked up March of The Tadpoles (SICJ 30013) and Long Yellow Road (SICJ 30010). Have listened to the former, and — wow — this new transfer is good; really open, and with distinct placement of sections on the soundstage. I think I might already prefer this new transfer to the transfer on the Mosaic Select. That said, if you already have the Select, I wouldn't say you "need" these new editions, especially if you're not a fan of the mini-LP. (I went a little "collector" crazy, and am a fan of the mini-LP.)

Same. Thanks, mjzee. (Your handle auto-corrects to "maze." )

The whole set should really be released again. Maybe in a simpler clam-shell box, and ideally without those terrible envelope (minus top flap) sleeve holders. Classical labels in the last 3-5 years have been reissuing tons of fairly rare music from the vaults in clam-shell boxes. They're affordable and no-nonsense sets, where the music takes center stage. I wish Sony would do the same with all the Miles Davis box sets of the past. Those fold-out digipack sets (think the Fillmore set) are a drag.

That is the best-sounding version of this album (in my opinion). Better than the Malcolm Addey transfer (which is excellent in its own right), and better than the Japanese RVG (too boomy for my taste). Buell Neidlinger's bass sound in particular shines. TOCJ 5888 pops up on eBay from time to time.

Dreamt last night that I was in Japan and stumbled upon a sushi bar that only played Cecil Taylor's music — particularly unreleased broadcasts of the trio with Jimmy Lyons and Sunny Murray. I was so enthused that when I tried to pay for my bill I kept dropping dollar bills on the floor. (Shoulda used plastic.) Thinking about it now, I don't know how pleasant an experience that would be. But in the dream it was magic.

Fourteen years (!) later ... and this is probably my favorite Miles box set. Keith Jarrett just kills it throughout. And Jack DeJohnette keeps up with him through every twisted beat — in fact, they almost seem to be sparring. Miles must have loved it. It's the funkiest boxing I've ever heard. Gary Bartz, as much as I appreciate his playing, seems the least at ease, even stiff at times. (If only Wayne had stayed in the band a few months longer!) Anyone else feel that way about Bartz's playing? I wonder what Joe Henderson would have done in that band ...

Listening to it right now ... for THE FIRST TIME!!! Man, what fine music. I'll be spinning this for a while. Weird that I discovered McNeill before discovering this thread, but it all worked out in the end. Somewhat mystifying that such a talent could be so deep under the radar.

Anyone picked this up yet? How's the transfer?

Just discovered McNeill, purchased Treasures, and have Washington Suite on the way. Really enjoying the former, especially Cecil McBee's playing. Asha will likely be next.

[11 song titles from Walt Dickerson's Prestige/New Jazz albums]: Evelyn, if I should lose you steppin' out — the unknown infinite you? Why, the cry: Togetherness! Time! Death and taxes! Sugar lump!

But it's the only Jarrett I listen to!

This one too:

Spot on. My favorite is Al Cohn's America. A long time ago, eMusic had these albums. Vinyl rips, but they sounded pretty good.

Damn. Sony never got around to collecting a bootleg series of Miles' various tours with Keith Jarrett. At least the Cellar Door stuff is out.

Fourteen years later, somebody says: "Man, that sounds like a good concert." Been listening to Yamashita lately. May have to start a new Artists topic ...

This will be deep.

Some of the most splintered 50's Warne on record. Wonky and totally on-point at the same time. The recording itself is beautiful.

Yes — the Stitt album. I even have it! Some of my favorite Stitt playing. It looks like it was even the first thing Giuffre did for Verve. I've edited the list above. The Jazz Discography Project doesn't list the session in Giuffre's entry for some reason. And, yes, the Piece for Clarinet and Orchestra does appear to have been recorded March, 1960. The Verve 2-disc set I have lists March, 1959. Must be a mistake. Thanks for the corrections!