T.D.

Thanks. Won't be getting any of my cash.

I just noticed on Bandcamp ( https://deathisnot.bandcamp.com/ ) a 3-part series I Had the Craziest Dream: Modern Jazz and Hard-Bop in Post War London, Vol. 1, 2, 3. Time frame late 1940s through early 1960s. Looks really interesting but a little earlier than my main period of interest.

Doesn't look like it. Advertised as "mint", looks newish and practically unused, apparently produced by an artisanal luthier (searching for correct words here...) Price is incomprehensible to me, but I reckon the market will decide.

You mentioned this (bolded) once before. Cleared up a big mystery. I'd been curious about the many Allmusic reviews with three stars but glowing laudatory text.

After reading recent posts in the audio thread, I found this loudspeaker at a mere $685,000 per pair... https://hifiplus.com/articles/wilson-audio-wamm-master-chronosonic-loudspeaker/ I doubt that Best Buy sells it.

Damn, I forgot to mention that one. Awesome, and by chance the first Waldron-led recording I bought. I could imagine a recording drought from roughly 1963-66 due to breakdown / OD and recovery. Could have had some problems before the breakdown. Maybe the move to Europe in '65 also slowed things down.

Back to the original post...I like Mal, but am not so much into his early "purely hard bop" recordings. I much more often reach for his, so to speak, more outside or post-bop recordings. For instance, the aforementioned Five Spot with Dolphy (despite out of tune piano), Seagulls of Kristiansund, duets with Steve Lacy such as Sempre Amore, etc. Granted I don't expect those are much to Peter's (original poster's) taste. OTOH, there are later straight-ahead Mal recordings that I also like a lot. So maybe I just prefer his later playing.

Strong +1 on Blues for Bud, which has some perceptible Tyner influence. My favorite and most played Hawes album, and I own quite a few (though sadly not Hamp's Piano).

Likely to pass.

Is that the autobiography ghosted by Quincy Troupe? I really enjoyed that book. It's been justly criticized on some scores (iirc a certain amount of factual info was cribbed from Jack Chambers's work), but the Troupe volume vividly conveys Miles's voice and personality. Miles comes across as rather abrasive (stronger terms could be used ) at times, but I appreciated the book pulling no punches. Disclosure: I have not read Troupe's later book Miles and Me.

I buy a lot from discogs. Have taken a strong dislike to Amazon (their absurdly garbled classical database basically says "Fuck you" to customers), and the signal / noise ratio of eBay price listings is not good. But I only buy CDs, so have fewer potential grading and shipping issues. Only have had one subpar buying experience on discogs. A really cheap classical box set (Holmboe complete string quartets on Da Capo) turned out to be lacking the booklet. I thought it could have been an honest mistake, and the set's not exactly a cornerstone of my collection, so let it slide.

Dusty Groove order, mainly filling holes in the Tapscott collection (they stock a lot of Nimbus West releases):

Yes, I'm happy with it. Purchased with practically zero foreknowledge, but have really enjoyed it and listened to the whole box through several times. I opted for Nucleus's 6-CD Torrid Zone box on Esoteric (instead of the BBC set), and that was probably my favorite 2021 purchase. Would like to hear the BBC set, but doubt that I'll make the significant expenditure...

Yes, there have been some outstanding Ra LP-sourced reissues. But I had a less-than-great experience with Corbett vs. Dempsey's reissue of Ra's Continuation: CD 2 had crappy sound quality, apparently much worse than on the Bandcamp Vol. 2. When DG announces arrival, I guess I'll make a split-second decision on whether to roll the dice.

Excellent point. Based on posts above, I assume a needle drop. But I don't know where / how to confirm, and am too lazy to attempt e-mailing an unfamiliar Japanese record company.

Thanks. I put it in my watch list. Will probably sell out the day it arrives @ DG (that often happens).

Thanks. But some unusually equivocal passages by DG's blurbmeister (bolded) evoke a slight doubt... A wonderful bit of spiritual soul jazz! This sweet little record was recorded out of the same energy that produced Larry Young's Lawrence of Newark LP for Perception Records, and it's a strange session by Tyrone Washington – a young player from the Newark scene who'd previously cut a straighter album for Blue Note, but who was working here in kind of a messed-up grab bag of styles that fit well with the stoned-out approach of the Perception label. Hubert Eaves plays piano, Stafford James plays bass, Clifford Barconadhi is on drums, and the album's a mix of funk, modal jazz grooving, and a bit of outside activity. In a way, the album's earnestness reminds us of some of Roland Kirk's work from the same time – except that Tyrone's backing group is incredible, with a tight rhythmic sound that gets funky at just the right moments. Titles include "War Is Not For Men", "1980", "Submission", and "Spiritual Light Of The Universe".

There's an obscure Japanese CD: https://www.discogs.com/release/11589806-Bill-Evans-The-1972-Ljubljana-Concert- I hadn't heard of this date, it's on Youtube so I'll go that route for now.

I looked on discogs, the OP seems to be out of luck if CDs required. Plenty of Concord titles listed on CD, but older albums vinyl only. Made a token search at bandcamp but found nothing at all.

I've attended concerts where the headliner was so obviously drunk that performance was degraded.

It's complicated. I remember Kenny Barron, in notes to the People Time recording, discussing an incident with Stan Getz. Some time in the 1984-1986 period, ...The next day, Stan called. He was very apologetic, and explained that he ended the recording session so abruptly because he felt embarrassed about the way he was playing. He also explained that he felt a little intimidated because this was the first recording he had ever done, or attempted to do, while sober... [Other interesting material omitted for brevity]

Book doesn't say which tune. "...Sonny came to the studio with me, and though he isn't listed under personnel he played the ending on one of the tracks because I was back in the bathroom fixing again.. We got paid after the gig - Charles gave Sonny five dollars for his two chords - and you know we went straight to Harlem and got blind that night..."

I noticed the release a few days ago on DG's "Coming Soon" page and likewise decided to pass.