Late

I don't think the omission was intentional, but rather simply not part of the film's focus (i.e. his relationship with Helen). But who knows? I kept waiting for mention of the album, and perhaps a clip of the car ad that the title track was used for in the day. To Blue Note fans, The Sidewinder is generally seen as a pivotal album (musically and financially), but the film didn't linger too long on Blue Note itself — though Wolff's photos, as mentioned above, were a gorgeous addition; many of them I'd never seen. I particularly liked the outdoor photo of the Cliff Jordan session with the whole ensemble + Alfred Lion.

Sorry about the huge image (is there a way to shrink it?), but I wanted to bring attention to this particular reissue in the series. The bonus album (previously on CD in at least two different configurations, and with alternates) is the best-sounding version of this (mono) quartet recording that I've heard. It's one of my favorite Brownie recordings. If you like this session a lot, this disc is relatively cheap and worth searching out. (Too bad it doesn't contain the alternates though.)

Oops. I hadn't read that thread. Thanks for bringing it to my attention.

Yes, I've seen it — thought it was excellent, especially given the limited source material that Collin had to work with. The contributions from Donald Ayler, Sunny Murray, and (briefly) Gary Peacock were especially engaging. It'd be great if Collin could be an Oscar nominee, if only to generate more enthusiasm for his next project, whatever that might be. I'd like to see him put together something on Steve Lacy. Collin seems to avoid interviewing people who didn't have a direct (working, personal) relationship with the subject of the film — very refreshing. In this way, there are fewer Bill Clinton and Cornel West moments (which, in my opinion, helped the Coltrane documentary very, very little).

Reread Bob Belden's notes from the 3-CD set this morning. The band played a two week engagement in San Francisco at the Both/And prior to The Lighthouse gig. The Both/And gig was recorded for SF radio, and became the source for bootleg LPs that mistakenly claimed the music was from Lighthouse outtakes. If the 3-disc set is ever released again, I wonder if it could add the Both/And recordings.

Interesting to see how many different editions of The Messengers that members here saw live — especially the fabled groups from the 50's and 60's! Did anyone here see the group with Chuck Mangione and Keith Jarrett? (I don't know if those two toured with the group, actually.) Or the group with Olu Dara and Carter Jefferson? Check out this 1980 edition of the band, with both the Marsalis brothers and the Eubanks brothers. I dig Branford's solo here. He was 20, and Wynton was 19. If I recall correctly, wasn't there a short-lived UK edition of the band, circa 1988? With Courtney Pine? (You can tell I haven't looked at any online chronologies yet.)

Share your stories about seeing/hearing The Jazz Messengers live. What year, what edition? I heard a 1984 edition of The Messengers: Terence Blanchard (t) Donald Harrison (as) Jean Toussaint (ts) Mulgrew Miller (p) Lonnie Plaxico (b) I can't remember any of the tune titles from that night (and actually had to leave at intermission), but I seem to recall Harrison was having a good night, and was featured among the soloists. Miller did not seem pleased with the piano.

What's this one like? I couldn't find sound samples online anywhere.

I've been listening to "Absolutions" on repeat for about four days now. A great track. Felser — what year did you purchase the album? The opening date of the gig (before recording began) is the day I was born! Erwbol — glad you're enjoying the music.

Wouldn't jazz fans be uncomfortable if all of a sudden their favorite albums (including 78s) were suddenly in the Top 10 billboard charts and selling ridiculously well?

Good to know that the rate didn't go up from the initial (one disc) cost. This actually makes me more interested in the (stereo) series. I don't mind mini-LP packaging, but those gatefold "chipboard" sleeves were becoming clunky. (Also, why make them gatefolds when the original albums weren't gatefold?) Eagerly awaiting the availability of the Dolphy titles in late 2019.

Listening to "Maelstrom" right now. Great track. Chu's in top form.

It's a good sounding disc, too. The music speaks for itself.

Man! You're right. When I checked, U.S. Continental shipping started at $14.26 for one disc. That's one curious Black Friday sale. Maybe more ... Heather Gray.

Listened to Disc 1 of this set today. I'd forgotten how much I like this music. I find Maupin's playing to be very inspired by Joe Henderson. And something that struck me on this listening — I wonder if the original vinyl was at the Marsalis Home back in the day. Some of Lee's licks can be found in Wynton's playing circa 1982-83.

Agreed. In this respect, the Morgan documentary is considerably stronger than the contemporaneous Coltrane documentary, where it seemed that the director's hand in shaping the narrative was the real (while unintended) star of the documentary. Collin's work is much less invasive; the effect is that he draws a viewer in because they're not being demonstrably conditioned as to how to think. (I can't help but think that Coltrane would have been really uncomfortable had he seen the documentary made in his name.) I did get somewhat tired of Collin's use of Search for The New Land. That said, it was refreshing, though in an odd way, that there was no mention whatsoever of The Sidewinder. The record cover appeared for a split-second, but that was it. I would like to have seen a contemporary trumpet player interviewed — say, Charles Tolliver — and hear impressions of Morgan from a trumpet player's perspective. It'll be interesting to see if Collin makes more documentaries on jazz musicians. I hope he does.

Acoustic Sounds is currently selling the Prestige mono hybrid SACD series 50% off. Their shipping rates appear to be fairly insane, however — unless you spend over $89 (within the U.S.).

A couple of years ago, I won an eBay auction for a Roland Kirk disc. When it came in the mail, the mini-LP sleeve was in great shape, and I was excited to hear how this particular Japanese remaster sounded. I put the disc in the player, sat back on the sofa ... and this Sonny Clark album started playing. What? I got up, opened the player, and discovered I had been mailed the Clark Audio Fidelity SACD inside a Roland Kirk sleeve. I actually didn't have the Clark music at that time, and when I contacted the seller, I said that I'd actually keep the disc. (He kindly refunded the transaction nevertheless.) So now I have the Clark SACD with no packaging, and a Roland Kirk sleeve with no disc. The SACD (I've only listened to the CD layer) sounds good to me, but I'd like to hear the Grundman remaster. Did the Grundman edition come in a jewel case?

I don't have Volume 1, but can highly recommend Volume 2 — listening right now. Great sound restoration, great music.

Same. Hopefully we won't have to wait until Coltrane's 100th! Wishful thinking on my part: I hope the next batch of remasters includes Dear Old Stockholm. It'd be nice to have all the Roy Haynes material (studio and live) in one package.

Listen to the whole album here! The first track alone is ample proof of why Oliver Nelson dug his playing. And don't forget to use the code 15PERCENT for the discount!

Sound samples here. Christmas melodies and Ayler are actually a very logical fit! In places, Williams sounds amazingly close to Ayler.

D'oh! I should have checked Discogs earlier. According to their page on Transition, UCCI 9243 = UCCI 9202.

Thanks for the information, and for straightening out my error. I agree — the late Coltrane SHM-CDs sound really good. (I wish I would have purchased Live In Seattle back when it was still available!)

"Bud has to pour himself into that piano; it's the only friend he really talks to." — Altevia "Buttercup" Edwards (Powell) I'm going to guess that this is not the first Powell record that people reach for when they want to listen to Bud Powell. Recorded in two different sessions in 1955, it's an odd mixture of high and low: effortless lines reminiscent of his brilliant mid-40's playing, and then suddenly blunted, aimless fragments while the rhythm section keeps things afloat. Nat Hentoff's original liner notes make no effort to disguise this: "Bud's records are, in this respect, like his live appearances. They're not consistent. Some may be distorted in various ways throughout an entire album; some may come fully alive only in sections ... " What a way to promote a purchase! Hentoff's notes got me thinking about Powell's mental illness, however — and the fact that Powell was put on Chlorpromazine, which was a brand new drug as of 1950 — and to what extent he might have experienced tardive dyskinesia (involuntary and repetitive movements of the face, torso, and sometimes fingers), which is a common, and serious, side effect of Chlorpromazine. What Powell had to overcome, just in order to play, might still not be known. At any rate, despite its curiosities and shortcomings, I find this record an intriguing listen — particularly the Monk cover of "Epistrophy." Anyone else spin this one in the last year? What do you think? I know that Powell fans "like it all," but this one stands out in that it's neither great nor a portrait of chaos.