Niko

Looks like Mine to me around 2:30...

pretty sure that's another Joe Kelly (younger, white, Chicago-based...even though that album with Johnny Board on tenor has been on my radar for a while). This Joe Kelly aka Joe "Red" Kelly played with Gerald Wilson's band in the mid 40s. The latest credit I can find quickly is this Peppy Prince album from 1958 (Horace Tapscott's earliest credit iirc). Peter Vacher's Central Avenue book has some memories of Kelly from John "Streamline" Ewing: Red Kelly from Peru, Indiana, was another very good trumpet player in the [Gene Coy] band . He had a style but he never did record anything, but he was different from any trumpet player I ever heard. He could play lead and could also solo. [..] He finally would up in the Post Office. [...] I think he still gigs around town, sometimes with Spanish bands.[..]

from the Philadelphia Inquirer, 23 October 1983... The continuation on page 24 is very brief: like you used to?" He smiled warmly. "It will probably happen." Then he pointed toward the sky and looked up. "If He let's me"

I want the Jimmie Lunceford...

Lester Young, apparently this is the source: https://www.thelastmiles.com/interviews-lenny-white/ Lenny White apparently felt like he grew up in Lester Young's neighborhood and for the first few years he really did... and possibly he passed that spirit on...

haven't been in Berlin in a while but remembered that someone asked that same question on another board recently, here (the posts from February 2022)

this one, "Now's the time" indeed

Subconsciously by Gary Foster, also on Revelation, has three more duo tracks with Budimir, but with Foster on flute and tenor, plus an as/g duet with Larry Koonse

just realized that these sessions are described in the Dark Tree book (p. 236), apparently it was a planned album that wasn't released at the time, 68 minutes of music extracted from two nights of live recording with tracks including Ballad of Deadwood Dick, Motherless Child, Little Africa, Breakfast at Bongo's and Close to Freedom [of which the first three tracks make up 37 minutes of the CD in the book]... so if they stick to the album as originally planned (but not released because no label could be found) there will be 30 minutes of additional music... Intriguingly, the same paragraph also describes a sister album recorded a bit later in the studio where the band is augmented to an octet featuring Bobby Bradford... wouldn't be shocked if that is next on the list...

thanks for the heads-up! 37 minutes of that music are already in the CD for the Dark Tree book, curious how much / what they will add

thanks!

Indeed, most of her more recent discography is with Santana... she's on a 2014 Rodney Kendrick album that might qualify as "the genre of music you know"

thank to you all for your stories! just a side note, I recently read Low Life, the autobiography of pianist turned boxing promotor Charles Farrell (link), at some point, it becomes a book about boxing but the first 90 pages or so have plenty of stories that sound like sgcim's post above (and even later in the book, when the music is gone, the mob stories continue)

I never really understood the appeal of these classical music mega boxsets where you get 50-100 CDs with minimal information, no album covers, just the music and a thin booklet (compared to the amount of music), the added value over streaming seems seems minimal - if it even exists... I guess there's a market because classical music lovers are one of the last demographics who listen to nothing but CDs...

for the second one, they made a number of production decisions that made a lot of sense (to me at least): limit most of the singing to professionals (including Jeanne Lee) rather than have Bob Moses or Jack deJohnette sing on most tracks, add a guitar, and find ways to integrate Harold Vick, a talented man, better into the band...

that's a change in direction, from Compost to Wild Bill... played those two Compost albums recently and thought that the second one was quite a bit more successful...

I could imagine that you and Mr Miyazawa had two interests in common then...

It's been a while but I read most of Roth's ficition and quite a bit of the non-fiction at some point... I liked the Emperor's Tomb a lot actually, other favorites were Flight without End (best of the early work, can also be read as an indirect sequel to Radetzky March even though the family is named Tunda there and not Trotta) and Weights and Measures (my favorite among his Eastern Jewish themed work, I like it better than Job for instance)

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...