Niko

indeed, just looked into Kelley's book, it's early 1970 between Rouse and Jeffrey, Kelley mentions btw that Patrick played tenor for this gig (but maybe bari as well)... Apparently, Wilbur Ware was making most of the suggestions for personnel in this phase of the Monk band, he first asked Dewey Redman as Rouse's replacement (turned them down), then Patrick (who was there for a few months) then altiost Clarence C Sharpe (who couldn't make it) then Jeffrey

Sun Ra's Chicago by William Sites mentions Dangerfield briefly but doesn't say anything about what happened to him... I just looked around a bit and came up with the following basic info: Claude Ruben Dangerfield, born 15 September 1931 as son of Claude Dangerfield Sr and Anna Gamble in Chicago. Married Barbara Joyce Cotledge on 8 December 1961 in Jackson, Mississippi. Died 6 November 1988 in Los Angeles. Final address 2118 West El Segundo Apt 6 in Gardena CA 90249, survived by his wife Barbara.

a confusing bit is that in the NPR show linked in the other thread around 4:10-4:30, they actually play one of the two-sax passages, the beginning of A Different Blues (around when Feldman says "dexterity" in the voice-over) but then they cut out a few bars between the head and the first solo that would really make it obvious

yes and yes... and it really doesn't take close listening to notice that there are two players... (you can find the liner notes on discogs)

came to the same conclusion based on Michael Fitzgerald's list: the facts that 1) the only 1974 date is with Lucky Thompson 2) the date in question is mid November so late in 1973 and 3) evidently someone did sit in in 1973, someone that was taken for granted it seems... all point towards Fields...

I'd been thinking about Love Austin... generally, I'd been wondering whether gender ratios were more balanced in the 20s and 30s than in the golden age of modern jazz heros, the 50s and 60s... i also must admit that I find it a bit weird to accuse a (superannuated) reissue label of biases - unless those biases are more extreme than in the genre they are reissuing - which really doesn't seem to be the case... I would have found it much more logical to start a thread like this one about labels that still record their own new music (like Criss Cross, for a pretty random example out of many)

interesting topic, those are habits that sit deeply - I still find it weird to spell "London" as "Londen" (like the Dutch do) but think it's the most normal thing the world to call Roma "Rom" or "Rome"... regarding Goykovich, the international wikipedias (whom I would trust with that type of thing) seem to have converged to Dušan „Duško“ Gojković with many of them (including English) not even mentioning "Dusko Goykovich" anymore (which I think is misleading if you want to buy the man's records etc... )

Is this one recommended? I had it in my hand last week, intriguing in some respect but not all (i.e. Hinze is not a plus where I have heard him so far) Yes, very nice album and thanks for that interview which is an asset... Last weekend i got the Soulbrass Inc record as my birthday present for myself, completely different but equally fascinating... De Kroeg is next up and then I have Noord covered on LP (plus the CD with Dulfer and Joop Scholten which is great as well)

A case for the jazz detective...

True, you have your own flea market situation in your country... I'd really been looking for this one at a decent price for a while so I was quite happy to bump into it today... One track can be streamed here though: https://www.advancedwarning.nl/music.html

It really is a surprisingly good,. surprisingly free album

Is there any additional Junior Cook in the bonus material?

Herbert Noord - Five Times Six it wasn't that cheap at 15 Euro but not expensive either and: I did manage to buy a nice record from my want list at that dreaded country-wide street market on the occasion of the king's 56th birthday... but I sure didn't try hard, just was lucky enough to walk by a box of jazz albums on a street corner... a classic of experimental organ jazz from Europe (not that there are many albums in that genre)

I can also mostly talk about recent years, having seriously gotten into used vinyl since 2016 or so... I usually skip bins that are not ordered by genre unless I really have time to kill - any somewhat well-curated shop will have the vast majority of stuff I find interesting sorted at least by genre... when there is a bin with Jazz records for 5 Euro that is very often where I find the best stuff, a lot of what I like is not expensive... some of the shops here also have bins with 1, 2, 2.50 or even 3 Euro Jazz records, those are also great.

This is Jazz No. 1 a recent 3 Euro bin find, bought mostly for the cover, I am already near the end where Pete Rugolo, Turk Murphy and Dave Brubeck illustrate the present state of Jazz as seen (by some) in 1954

With Art Hodes and Don Ewell, I was surprised to learn that soon after you start collecting their records a bit you have to be careful it doesn't get out of hand... Red Rodney and Ira Sullivan are two that are surprisingly easy to collect on vinyl, compared to cd, so i did end up with slightly more than I need as well ...

Have a soft spot for this one as well...

Faith is on YouTube, imho it's not quite as good as i would have hoped... Dissent or Descent is on Spotify and the usual streaming sites, probably also YouTube...

Thanks for the link, there's indeed some really cool stuff there, like five tracks from Wayne Shorter's first recording session with Johnny Eaton here (and in the posts linked there)

This all reads as if they want to transform a magazine read by white grandpas into a magazine that black grandpas read to their grandchildren... With that in mind something like that Wayne Shorter obit makes a lot more sense - those grandchildren will likely not say stuff like "What about his time with Miles and those Blue Note albums?" or "Is it really fair to say Weather Report was Shorter's band?" because they're way too little to worry about stuff like that... Still: poor children + i also wonder whether all this is commercially viable but luckily that's not my problem and i don't know this market segment of black grandpas and possibly grandmas too well either

"Konrad Lorenz" and "geese" isn't a random combination of words either...

Not that I remember much but I was at that concert actually... I remember Austin thanking the band for making "the greatest sacrifice" of temporarily not smoking on the bus

two favorites, if you want, they're both takes on Coltrane albums, the Japanese Soultrane and the German Olé

It's not so clear actually what he says exactly regarding the timing of events, in particular whether his playing with Montoliu is (partly) before the early 70s: I would translate this "Wie ich vorhin sagte, man hatte eine Hausrhythmusgruppe, Anfang der siebziger Jahre machte man das nicht mehr. Aber ich habe dann auch noch einmal mit Tete Montoliu gespielt, blinder Pianist, der zunächst in der „Galerie“ spielte. Mit dem bin ich dann nach München gegangen, um dort auch Haustruppe zu spielen, ..." as follows: "Like I said before, there used to be house rhythm sections, but in the early seventies that wasn't done anymore. But I did play once again with Tete Montoliu, blind pianist, who had initially (?) played in the Jazzgalerie. With him, I then went to Munich, to form a house rhythm section ..." (the second time, he says Haustruppe, "house troup", which I guess is a joke from back then...)