JSngry

Thanks for that link! Ordered Henri Dutilleux: Centenary Edition + Pierre Boulez - The Erato Recordings.

Ok, here's the one that I have: https://www.discogs.com/John-Coltrane-The-Outer-World-/release/11765603

The "back story" about Trane/Russell/Manhattan, supposedly. is that Trane requested some time - about an hour, as it turned out, and time was/is money - to get his changes together. He went off into a corner, did his math, came back ready and then did that. The rest of the band, studio pros all, wondered wtf? what is this guy doing? Then they heard what he was doing. From wtf? to WTF!!!!

You can hear those false starts and incomplete takes and hear Blakey learning the charts as he goes. He had played big band before, remember, with the Eckstine band. There's nothing in these charts that was particularly unusual, so he just had to figure out what and where. He did it. But anybody hearing just the final takes could be forgiven for thinking that this was a relatively easy date, that Blakey came in prepared and took charge of the "Art Blakey Big Band", Didn't happen that way.

Whatever it was I got had the whole Blakey Big Band session, false starts and all. There's a LOT of false starts and incomplete takes. Not at home now, so I can't tell you what version it is. It was Japanese in origin. Speaking of Bethlehem, there's a version of Johnny Hartman's Songs From The Heart (also from Japan, iirc) with a bunch of "bonus" cuts that consist of what sounds like Hartman either getting lost or forgetting lyrics or some weird shit like that. It's uncomfortable. Those Blakey fuck-ups are uncomfortable. In both cases, the end record was pretty good (and in the case of the Hartman record, very good), but not good enough to document all the hassle that went into getting it there. Certainly I'm down with full documentation of historic sessions, like with Bird dates, things of that ilk, but things like this are the aural equivalent of watching sausage being made.

Yes. I can vouch that Liebman/Grossman (or Grossman/Liebman if you prefer) were HUGE influences on and in certain circles of young tenorists all the way through the 1970s (and beyond, really). And don't forget Merry Go Round! Not a style of tenor playing that ever grabbed me by the Ricos, but the influence is undeniably significant.

For a good time, call BST- 84343.

There was a Japanese release that had the entire session tape(s), and it becomes readily evident that Blakey was either not prepared or else wasn't reading the charts at all. The band itself was good, it was Blakey that was a mess. But he had good ears, and got it together enough to eventually get good takes. But getting there...oh my goodness....

I, too, am a soldier in the war on poverty.

Hamilton 78

Packed chock full of delicious stereo bubble gas and then shot fresh from fiery flavor record guns!

Where is Alex Coke living now? He was in Austin for quite a while. GREAT player!

Dude - liner notes by Wesley LaViolette!!!

Better that than stems and seeds! #prestige2400series

Plenty of overlap with the one listened too earlier, but STILL not complete coverage of the original sessions. grrrrrrrrrrrrrrrr.....

Oh, it seems like it goes by fast, sure. But how many people get from, say, 75 to 80, or 80 to 85, etc. without something significant occurring (if they get there at all...)? I hope that all of us here are in that group. Sonny Simmons too!

This would be a really easy record to overlook, I know I almost did. Don't let that happen to you, it's a damn good record, and it doesn't at all suffer against Armstrong's similarly themed iconclassic.

That was five years ago. Once you pass a certain age, five years is a lot of time for a lot of things to happen.

aka, if you Old Folks might remember:

Some kind of pre-70s Wild Bill Davis and/or Milt Buckner. There's historically Mosaic-available catalog aplenty for each.