Niko

a typo for Steve Schaeffer I'd say after quickly comparing two photos taken at different ages...

have mixed feelings about that record but I really like Ruud Brink

music from where I grew up, Cologne in the 1990s; and I remember that band being advertised here and there back then but my priorities were different... of course, we listened to Tom Waits a lot, and - through carnival - music in the local dialect [which I never learned to speak] was something we played at least once a year [music in proper German I only discovered in my 20s even though that is my native language]... I guess Tom Waits covers in the dialect you grew up with is a type of music for people over 40... which is fine, it sounds glorious once you're there.

I have one of the Bill Henderson albums, Live at the Times, it's an intriguing line-up I thought with her on piano and former Don Ellis sideman Dave Mackay on Fender Rhodes plus bass, drums and, of course, Henderson's singing... haven't played it in a while but remember it as a special album and quite a good one.

Yes... He has some piano trio credentials e.g. with Michel Graillier

the Soul Jazz book must be Bob Porter's book of the same name... (which I started reading but somehow never finished... so I'll wait with this new book until then)

I agree, it was better hidden than usual...

we've been discussing this release for a while now in this thread here: The track list is In 'N Out; We'll Be Together Again; Taking Off; The Believer; Isotope. in there is more information over in that thread

The third record is formally leaderless... So, in particular, there's no attempt whatsoever to market it as a Coltrane record

A good one... I guess that if Coltrane would have said "this record is about spaghetti" and "this record is about rabbits" covers might have looked different... Instead, he said "this record is about myself, where I stand right now" and because that happened every few weeks, and because designers didn't listen to the music...

Yes, indeed - even though you can be sure that the person writing "song" there knew better, probably laughed when they wrote it... In the video title it says "Stück", "piece", which is more conventional language... The accompanying Bild article also mentioned that the musicians were kids themselves (16, 17 and 20 years old) and that the composition consists of a march followed by six short movements

I was in the area as well this afternoon, playing this nice compilation with late 20s recordings I found in my lunch break... Freeman is on 6 of the 16 tracks... (this album is PMC 7072, PMC 7070 was The Beatles with Yellow Submarine...)

in Chris Albertson's *** DB review of Up Above The Rock (15 May 1969 issue), he notes that "Except for a few bars on Dag Nab It (I could almost swear they were played by Clark Terry), the horns are relegated to playing arrangements behind Bryant" (and that's the only time the word "Hiques" appears in Downbeat according to my - far from perfect - computer)

been there, most of those places... Johnny Hodges and Earl Bostic do not sound like modern altoists, do not sound like Cannonball... in Lou Donaldson's case, I'd say the organ really isn't ideal, soundwise... at least in combination with his alto... but from a bebop-tradition point of view, the line is what counts, you could have a harmonica with a gameboy rhythm section and if the phrases match it's pure bop (and no, Charlie Parker never played harmonica over chords provided by a gameboy; and he did have the most amazing sound... didn't play with organs though, or rarely). Stitt I prefer on tenor, especially when there's an organ behind him and I'd guess he plays more tenor on organ records but I don't have the numbers... what made me doubt was, curiously enough, indeed Sonny Cox... that trio sounds just right. imho it's the exception.... same for the Charles Williams group with Don Pullen. Then again: Take Johnny Griffin's Grab This! It's not a record people talk about much, Griffin is not a tenor player people associate with organ... how many organ records with alto can hold up to this comparison? [not many, I say] Most of the classic organ records have tenor, and that happened for a reason.

to my ears, alto just doesn't go together with organ as well as tenor regarding frequencies, sound, pitch, whatever... regarding Coltrane, he did play with Jimmy Smith in 1955, not recorded, and there's also the group pictured here:

the Phil Schaap collection has quite a few tapes with Cumberbatch and the Swing to Bop Quintet... Edgehill (or Edghill, but that's not how they spell it) isn't on those but there is a 1977 gig by Harold Ashby documented on several tapes including this one https://aviary.library.vanderbilt.edu/collections/2137/collection_resources/130454 Ashby (ts) with Ed Lewis (tp) and a rhythm section that looks pretty good on paper, Richard Wynands, John Ore and Arthur Edgehill... edit: just saw that - of course - Dan mentioned those tapes already in the first post...

I don't actively do either but I follow your instagram account - the cats are adorable - so I have some idea... let's just say that she recently recorded a song about one of the presidential candidates in the US and that there's this conflict that got a lot of attention since last October where the two of you don't seem to be in the same camp... Al Levitt, yes, that's a good one, as one of Sean Levitt's biggest fans, I've always wondered about the processes that lead to the family ESP album with Chick Corea...

Getz makes it clear that Hubbard wasn't sober in the relevant moment... she also appears on some of Grimes' first recordings after his return in 2004... btw, she is still quite active on Facebook... and I don't think I want to be sober when she and Clifford talk politics...

have you read her story or listened to it? It's not like that incident made it into the blurb describing the book or that she tried to get anything out of it - at least not that I know of.... I wouldn't generalize to all women always, but this case here just seems totally plausible... I mean, if she would have wanted to do the maximum possible damage to Hubbard with a fairy tale, she would have changed a few things (like not wait until he's dead, make the attempted rape a rape, and replace Henry Grimes by Scott Holt or some other person that was no longer available at the time of writing). And now you can say that this was all strategic... but that is the point where you need to find more evidence that her book is unreliable. In addition, it's not like she has an obligation to identify other victims with similar stories before she can talk about something in her autobiography. His family could have sued... but maybe they thought the story was plausible, too.

knowing my fairy tales, it hurts to see the statue cropped at the first animal... either have the whole thing with all four animals in there or show two animals which then gives four musicians counting Kloss and Miles... https://en.wikipedia.org/wiki/Town_Musicians_of_Bremen

for months Dan Gould has kept us all updated about recent developments regarding the Phil Schaap archive, wondering why almost nobody reacted even though there's stuff in there that would have caused quite a stir in the glory days of this board... so, I was mostly commenting on stuff that happens elsewhere on this board - while at the same time pointing out a pretty cool live recording to Patton fans... here's the link, I doubt that many people had access to it until very recently... https://aviary.library.vanderbilt.edu/collections/2137/collection_resources/133113

I guess that spoken word thing is her reading the relevant passage from her autobiography... of course, we can never know for certain... but she really doesn't come across as someone who would get a kick out of inventing a highly detailed Freddie Hubbard anecdote just to grab attention... and she doesn't say anywhere that you should stop listening to your Freddie Hubbard records... she does come across as someone who knows perfectly well that she could be sued for libel and decided the risks were negligible... she also mentions witnesses in her story like Henry Grimes who was still alive at the time the book came out... what she does say is that after this incident she stopped seeing her future as a star on the NY jazz scene or the jazz scene overall... look at the start she had, working with John Handy, Pony Poindexter, Pharoah Sanders, Mingus, Grant Green, Jackie McLean, Freddie Hubbard and others ... I had actually wondered myself earlier what had made her quit that scene... children I'd assumed... turns out that it was what we would nowadays call a toxic or hostile environment... and there's a reason why we say that nowadays

It's 17 years later... But I got that album, Bud Freeman Esq, some time last year and played it quite a bit, it's excellent imho

On spotify and similar platforms you can find a track called "Ready for Freddy" by Kama Ruby with spoken words by Jane Getz where she tells the story in great detail (the attempted rape is around the 10 minute mark but the rest about sitting in with Jackie McLean at Smalls etc etc is, of course, also interesting)