Niko

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...)

I just googled a bit, starting with how I would spell it, Jazzgalerie... It's mentioned a few times here http://www.andrecondouant.de/inhalt/leow/leo0.html Apparently, the address was Bundesallee 194b in Berlin-Wilmersdorf.... And it was the location of Eric Dolphy's last gig...

It seems the keyword here is "Alpha", all those musicians like Reece, Harriott, Gainair, McCook... went to the same school... And most of those who went to the UK went at a very young age, so presumably not that much did happen between Alpha and Emigration https://en.m.wikipedia.org/wiki/Alpha_Boys_School

Indeed, that Bud Freeman Trio material is great, i have it in this incarnation, also Wild Bill Davison with Strings (other cover variations may be more common, but this is the one I have and like a lot)

Good call on the Selects, my post above was only about the big boxes, not Mosaic Singles or Selects... I have only two big boxes and haven't played them much (the Gerald Wilson bought from j.a.w. ages ago and the Hall Johnson Blue Note bought cheaply a few weeks ago), a few of the Selects are prized possessions (Andrew Hill, Randy Weston, Curtis Amy, Carmell Jones, Charles Tolliver). Those product lines were more targeted at people like me... Pretty sure I saw the Pepper Mosaic at Concerto earlier today, but didn't pay close attention...

Muggsy Spanier - This is jazz broadcasts From my recent stack of 2€ 10in lp finds... Prime revival Dixieland...

Funny, the Ferguson, Green and Lyttleton I also found in the past few weeks... And i paid 2+2+5 iirc.... That Ferguson album is great

Indeed... I bought one before I was forty, one a little afterwards, both used for little money... I did buy about 3000 jazz records in my first 40 years... So you might consider me proof that somewhat younger collectors don't appreciate Mosaics the way earlier generations did...

Not my favorite item in the series musically, but definitely one of the prettiest covers

More Aketagawa, not Jazz in any strict sense, a favorite

Not the first album i bought on recommendations from here... Seeing the "Go Home Dirty Bopper" signs BillF mentioned whenever Bruce Turner's alto is in focus (but not getting the Bebop vibes at all...)

Chatgpt can do more than that... I think you could feed it that Shorter obit and then let it rewrite any text of your choice in the style of Dr Seay

It's a close call, for BigBeatSteve I'd clearly recommend Blue Nippon, but i guess for most Western fans of "JJazz", Soejima is more suitable I'd say, despite its flaws... In a way, those flaws actually give you an additional perspective on where that music is coming from...

just had another look, I paid quite a bit less at the time... Fumio Nanri is mentioned 20 times in the index, of the other leaders on your LP from the other thread, Koji Fujika and Eiji Kitamura are both mentioned once, the others not at all... I find myself comparing this book to Scott deVeaux's Bebop book, regarding how much I like it, regarding the level of scholarliness, and regarding the fact that it doesn't try to cover different musicians in "representative" proportions when bringing its message across... the biggest difference to the deVeaux book is that the occasional scholarliness is social science, not musicology... by and large, I think you might indeed like it.