Niko

that's one of the Joseph Roth books I know the least... sound very interesting ... (moving in with my girlfirend soon, so the Joseph Roth Poster will probably have to move to my office... those tradeoffs...moving the record collection to my office is not an option for various reasons)

had to google Irish jazz musicians as I also didn't know any other - seems like a remarkable gap... the other two names that rang a bell were guitarist Christy Doran (who left Ireland at age 11) and bassist Rick Laird (who left Ireland at age 16) but I guess they hardly count...

I guess Garrett/Johnson were one of the more interesting pickup groups... But still, no apparent traces of the west coast tour that was supposed to follow the Both/And gig... The review I found sounded a bit weird (the concert only got better when someone started to read Black Panther Promo material in an incomprehensible way behind the music, or something like that) will look it up tomorrow...

that caught my eye as well... re the bassist and drummer, apparently Hill went to San Francisco only with Rivers and hired a local b/dr team (Garrett/Johnson in that case), the journalist didn't think that was ideal even though he admitted that the second week was better

just searched a little bit on newspapers.com, the only lineup I came up with is a quartet with Sam Rivers, Donald Garrett and Oliver Johnson that played the Both/And in May 1966 this is from 21 April 1967: and this is from three weeks earlier:

the neighborhood beerstore has stocked up on Ukrainian beers...

well, Lion and Wolff are pretty much what stands between Tina Brooks and oblivion... in those days, the US was full of totally amazing Hard Bop Tenor Players, give me a time machine and a lottery win - I'll produce you a handful of hard bop classics... if Tina Brooks isn't available, I'll track down Joe Alexander in Cleveland, Nat Perilliat in New Orleans or the right guys in Chicago, LA, SF or Philadelphia... so many potentially amazing hard bop records went unrecorded - and Tina Brooks and his four albums really don't look like the point where stuff went wrong... if Tina Brooks really just recorded four albums because he was gay, you really don't want to know what was wrong with all those guys who recorded nothing at all...

I am pretty sure we didn't have a previous thread about this topic... it does make me hungry though

just got the new Bird in LA double cd and immediately noted a weird typo that seems consistent throughout the liner notes... bassist David Bryant (later with Horace Tapscott) is called "David Bailey", even when citing his recollections of Bird in the Central Avenue Sounds book... implying that whoever first wrote the text still knew the name - otherwise they wouldn't have found his recollections... and then at some point in the production process someone decided that having Clora Bryant in there was enough Bryants so David had to become a Bailey...

Dexter was supposed to play in Madrid on 28 October 1983 but had to be replaced by Johnny Griffin (link, link), for the two Dutch concerts in early 1983, I found reviews (here and here - in Dutch obviously) which I would consider positive without being particularly enthusiastic ("still good", "no surprises")...

here are some more from newspapers.com and delpher.nl (not exhaustive) 19 January 1983, Meervaart, Amsterdam 11 February 1983, Bimhuis, Amsterdam 22 March 1983 Blues Alley, Baltimore 22 April 1983 Baker's Keyboard Lounge, Detroit 26 July 1983 Concert in Kansas cancelled due to a recent Diabetes diagnosis 21 October 1983 Chameleon's Gardens in Philadelphia there definitely seems to be a slowdown from the summer of 1983 onwards

I'll definitely be getting the Kikuchi/Evans and the Takeru Muraoka album (w Kikuchi), probably also Palladium (all three can be sampled on youtube). The other Kikuchis I have and like a lot (w Silver World being the standout, but they're all great), also second the recommenation for Gentle November "a deep ballad album" describes it very well

Iirc Larry Kart has written here more than once about how Ira Sullivan was one of the top tenorists in a brief time window in the mid fifties... (a sentiment that I share, but i wasn't around) Generally, i have the feeling there's this semi-lost generation of artists who did their best work in the years right before Kind of Blue and the rest of 1959... (the classical Hampton Hawes Trio comes to mind as well, e.g.)

You can also read most of the material that ended up in those Lees books online for free here (link fixed) in its original version published in Gene Lees' Jazz Letter... this edition contains an index of all articles from 1981 to 1997... in the early years, months are counted 1-12 from August to July, later from January to December... there's also some interesting stuff from other authors in there like Mike Zwerin's legendary article about touring with Claude Thornhill in the 1950s

yes... then again, they collaborated quite a bit, there's a duo album, two Hino-Kikuchi Quintet albums with Osby and also some (two?) Paul Motian albums with both of them... still, it remains an unlikely pair (and I also don't like the duo album and the quintet album I know (Acoustic Boogie) too much even though I'm a big Kikuchi fan)

I would begin with the earlier Pacific Jazz albums that were in the Mosaic, like Portraits

You certainly don't want to read Bebop by Thomas Owens then... I thought deVeaux had a fairly decent balance between history and musical analysis, while Owens rarely fills a page without at least some notated music...

https://www.youtube.com/watch?v=ezHDtrAOW70 Horace Tapscott & the P.A.P.A. at the Geronimo Pratt National Black Human Rights Coalition (1980)

thinking about what I wrote in the Baker thread, Baker's working bands and late albums, Köln concerts and me not being around... this album was recorded at a concert in Köln in 1981, four weeks after I had been born there... and in fact, we were living less than 3 kilometers from where the concert took place - so in a way, I kind of was around... the rhythm section is badly recorded and barely audible unless the horns lay out... what makes the album kind of work is that it combines three horn players with a really beautiful sound, Baker, Jon Eardley as second trumpeter (can't tell them apart) and Bob Mover on alto

I wasn't around but it seems he was fairly low profile from the mid-60s to the mid-70s, with him being in bad shape and his music not fitting into the times that well either... in 1974 came the CTI album, and from there it took a few more years until he started to constantly tour Europe with surprisingly good bands, recording dozen of albums, many of which are great... and somehow, it's also not hard to see how Baker's brand of chamber jazz could work in a market where Jarrett's 1975 Köln Concert was a really big deal... (while Baker didn't really have an answer to, say, Bitches Brew). It's not so clear where to put the beginning of that late Baker phase but the 1978 band with Phil Markowitz feels like one logical starting date to me...

still kind of on the hunt for Volume 3... should play the other two again, I remember this as a really nice hard bop jam session but it's been a while

https://jazzprofiles.blogspot.com/2022/01/gale-madden-randy-l-smith.html?m=1 No time to read this now myself but it looks interesting

envy you a bit for that Bechet record... last spring, I happened to walk into a really great record store, bought way too much, I thought (including most of my gaps in the Riverside New Orleans Living Legends Series), but also left quite a few records there that I really should have taken as well... including that Bechet album

That's the return of the LP... (Didn't like this album too much, even though I like most of the participants, but I didn't try hard)

thanks for posting!