Niko

there's a great Steve Coleman Interview where he talks at length about Stitt, telling e.g. this story: " I’ll tell you one story I saw with him. There was a saxophone player in Chicago, Guido Sinclair. Normally, local saxophone players, they have certain things they can do really well. But they’re not really very broad. I mean, not usually. There’s usually a reason why they’re local, to put it that way. But this guy had certain keys that he could play in, like really, really fluently. He had these certain little phrases and things like that. He kept his fingers really close to the keys, it looked like his fingers weren’t moving. One time I saw him with Stitt. Here the guy was whipping all over the place. Stitt was kind of a gladiator kind of guy. So they were playing, and this guy was whipping all over the place, so Stitt saw what was happening and he analyzed the situation. And the next tune he just called off something that he knew the guy couldn’t play on. He didn’t even know the guy real good but he could tell, he knew just by listening to the way the guy played that he wouldn’t be able to handle this. So he called off a tune which was a normal tune but he started off real quickly in a key that he knew the guy couldn’t deal with. The guy fell out of his place, all of a sudden all the speed and everything came to a complete stop. And Stitt was still able to do all the Stitt shit. [...] Stitt just tore this guy apart in public. " what comes out clearly in that interview is that Stitt was a local player and an inspiration to young SC but apparently also to young local saxophone players in Detroit and elsewhere - while DG probably did a better job at connecting with the international jazz fan... what also comes out is this very self-centered attitude - to Stitt, the best concert is one where he looks great while everybody else looks really bad... I guess in a concert this type of attitude can work out but you don't record a perfect album with that attitude...

I searched a little bit yesterday... found almost nothing about the label... but Nancy Steele and Sheila Jordan did work together a bit later on (they were "heading the show at the Robber's Roost, 68th St and Madison Ave" for about two weeks in May 1963)

the Magnificient Goldberg actually does mention it on the first page... besides that, yes, it's one in over 120 - been playing Patterson/Stitt albums this morning, I already own 12 or so but there are still gaps... in a way, this omission is also a sign of when this was written 14 years ago - the first cd reissue that was easy to get over here had just come out (this one) and many people were less into vinyl than they are now...

that one's a favorite...

interestingly, for the poster, they gave the cover some type of 1980s makeover:

Hannes Zerbe - Blech Band "Blech" is for "brass"... an album that proves that the spirits of Eissler, Weill and Ayler were alive and well in early-80s Eastern Germany... 16 horns (including 3 tubas) plus rhythm featuring international guest Willem Breuker... my copy came with a promo poster and an additional document in (poor) English and French, all provided by the government institution that was in charge of organizing the international tours of the country's artists...

Helmut Sachse - Hannes Zerbe streaming this one via youtube... a split LP that was recorded in the first month of my life... it's a logical week for exploring more of this Easter stuff as we're approaching the 60th anniversary of the Berlin wall on Friday

thanks for the tip with youtube... on his webpage, he lists a tribute CD for baritonist Henk van Es (Interstellar Soul Control) but somehow I never found it (guess I should write to him)... anyway, a few month ago, Noord put two tracks from that CD on youtube (along with a text that says a lot about who van Es was besides being the second sax player on that Soulbrass Inc album) here and here...

Lasse Werner & Bernt Rosengren ‎– Bombastica! 1959-60 Bombastica! is the title of first tune and of the original Jazzland release of this album, an "attempt to highlight contemporary Swedish jazz composition," but in my book it doesn't describe the music well at all... to me, the whole things sounds more like extremely talented fans trying to create something like Mating Call or an imaginary John Coltrane Prestige album with Al Haig at the piano... works nicely for me

thanks! not 100% sure whether it's fair though René Thomas ‎– The Real Cat one of the great CDs in the Jazz in Paris series, compiling a 10'' album and two 7'' singles from the mid-50s that were probably extremely hard to come by for a long time before this here came out... the music seems very much modelled after the Stan Getz Roost recordings with Jimmy Raney or Johnny Smith... the biggest selling points are Thomas on guitar and (on the album tracks) Urtreger on piano...

Ingfried Hoffmann's Hammond Tales realizing only now that the title is alluding to the Offenbach opera "Tales of Hoffmann" (and probably the books, too)... there's not that much Rene Thomas on spotify - but there is some, including this album... basically, this is Klaus Doldinger's rhythm section of the time (Hoffmann at the organ, Helmut Kandlberger, Klaus Weiss) with Thomas taking Doldinger's place... Thomas does find places to shine... but in 1963 the hippest organ playing was still happening in the US... in the coming decades, Hoffmann would become the eminent composer of music for children's TV shows on German TV, deeply influencing multiple generations (including me)... and the traits that made him excel in that business may well have the same traits that led him into some dubious choices here... basically, you get the impression that he is picking his organ sounds to impress 5 year olds as effectively as possible... not a bad album at all but Thomas' organ albums with Louiss and Bennett are better...

René Thomas ‎– Hommage à ... René Thomas TPL on Vogel was the last René Thomas album, which makes this one, recorded five days earlier on February 21 1974, the next to last... this was recorded for the radio show Sesjun [and by now my Dutch is good enough to understand that this is pronounced like the English word ... "Session"] which means the sound is much better than on the Vogel album... why the label decided to market this record as if it was some type tribute album is beyond me... it's Thomas himself playing a program of his usual songs with one of the classical Dutch rhythm sections of that time period (Rob Franken on electric piano, Koos Serierse on bass, Louis Debij on drums)... as much as I love Jacques Pelzer, Rein de Graaff and Han Bennink... this is much better than TPL...

Thomas Pelzer Limited - TPL a lucky score a few years ago since the badly damaged sleeve (persistent stickers from its former life in a public library) pushed this into my price range... if this was as good as it looks on paper, it would be completely amazing - Rene Thomas and Jacques Pelzer are Belgian favorites and the rhythm section of Rein de Graaff, Henk Haverhoek and Han Bennink is hard to beat in general... but somehow, the album is recorded incredibly badly for a studio album from 1974... with the piano and drums being almost inaudible behind the bass... and somehow, I lack the imagination what this music would be like if I could hear it properly

the music industry has changed... I've never been to London for record shopping... I believe I got to know FOPP in Cambridge in 2008 or 2009... Relaxez-Vous Avec Jack Diéval Et Son Quartette never replaced my fairly beat-up vinyl copy of this one by a better one because the music really isn't that great... got this for René Thomas of course, who plays on half the tracks... the other half are Beatles covers played by Diéval and his trio... and Diéval is not my first, second or third choice for a French pianist in that period (early 60s) ... to his defense, nobody in the early 60s could quite predict just how worn out songs like Yesterday or Michelle would sound 60 years later... still, there are some nice solos by Thomas

yes, I remember FOPP from UK visits... for me, that OJC sale was really a transformative life event... I was jazz fan before, attending concerts sometimes and being happy with my 50 or so jazz cds... but over the course of about half a year in the middle of 2006 during that sale I bought one or two new OJCs every day (3 Euro a piece), becoming far more seriously interested, joining this fine community and turning into, well, a collector of jazz records ... Lou Bennett - Pentacostal Feeling more Rene Thomas... (and what a weird cover... they forgot the word "Pentecostal" but it's added on the original backcover... I have the Jazz in Paris CD)

more Rene Thomas...

didn't know he posts here - just read your article back then and got three of his less collectible albums which are quite nice as well (same with Dikker and with the de Graaff / Vennik group - luckily all three albums on that label are the beginnings of longer discographies with easier to find albums)

I've been buying there since the 90s but what I really remember is the huge OJC sale about 15 years ago... nowadays the regular shops have all vanished (at least those that I knew), only some shop-in-shop branches within bookstores seem to be left, saw one in Münster fairly recently, but the "magic" (=great cds at great prices) seems to be gone just like everywhere... René Thomas - Guitar Groove hadn't played this one in ages, even stronger (and far more mellow) than I remembered it

That one and the one in Düsseldorf for me... walking by there still hurts after all those years... Those were formative places

didn't mean "free" in the sense of "free jazz"... for live Rene Thomas from the early 60s, there's now also a nice double cd from Fresh Sound which duplicates some of the contents of the elusive Guitar Genius 2 ... like I said, for later Thomas, the things I really like feature Eddy Louiss at the organ like here or here

indeed, a compilation of the Eardley album, the St Tropez album and possibly others was also issued in Finland without any identifying information (besides some of the song titles), here, but apparently Dirne was so fond of some of the titles that he reused them for unrelated compositions as well... tunes named "Extended Play", "Try for satisfy" [?] and "Subtroyan Influence" [??] also appear on this fairly awful piano album that was variously released as "Walt Lemon – Dreamin' Piano", "Robert Stenway Plays Piano Cocktail" and "Walter Berns ‎– Piano Party" (possibly others, too) but the compositions have nothing to do with those on the Eardley album

Thomas - Jaspar Quintet

I only got the Guitar Genius CD relatively recently (and still haven't found Volume 2) and I think I'd rate it somewhere in the middle of my Rene Thomas albums... to be more precise: the Louiss/Thomas/Clarke Trio CD is one of my all-time favorite jazz albums and I'd place that one in a different league... I like Thomas' early sessions (like "The real cat" which Peter Friedman posted above), they're more focused and maybe a bit less free - hard to compare... there's some great stuff from the early sixties which strikes a pretty good balance imho e.g. the Italian quintet album with Jaspar or the Riverside album... There is still amazing stuff from later though, like the organ bands with Eddy Louiss (including Stan Getz' Dynasty) or Lou Bennett... The later live recordings can be a bit incoherent at times, a tiny bit like Tony Fruscella at the Open Door or so... the best minutes are genius, the weaker minutes might be somewhere in the middle of a bass solo by someone who wasn't born to play super long bass solos (but still did it from time to time). I'd say that the Guitar Genius CD is one of the better collections in that category (others include the albums on Vogel and Timeless which I like but which I would put behind Guitar Genius)... The Ronnie Scott's album is also a somewhat rough live recording... but all four guys in the band (Jaspar, Thomas, B Quersin, D Humair) are great and, in particular, I think this is one of the place where one can hear what's the big deal about Bobby Jaspar - imho this album has one of Europe's brightest tenors in one of his brightest moments (and on flute on some tracks that I sometimes skip) - and for that reason (Jaspar) I'd put it ahead of Guitar Genius... I have less of an overview when it comes to Jaspar, but of the stuff I know I'd put only Modern Jazz Au Club Saint Germain ahead of The Ronnie Scott's album.

re Moulin / Placebo, it's too long ago so I wouldn't want to make a differentiating verdict about the three albums... I think if you like one, you probably like the others as well... I started with a compilation which was fine musically but I never really got to know the albums separately... I'd say the albums are slightly better than the music in the video and I also like them a bit more than Sam Suffy... but both are nuances and I haven't really checked in a while... re the billing on that album: Tony Dirne who produced these two records among hundreds of others apparently just recorded music and then invented song titles, a name for the artist, found some photographs to go with the music... and sold the stuff to different labels... That he had the good sense to actually reveal that this album was a Jon Eardley album instead of inventing a name was quite unusual ... (next level would have been to use a photograph of Jon Eardley on the cover instead of some random guys... that all songs were composed by Dirne's wife Jacky is probably inaccurate as well, especially since there is some overlap with material that Eardley recorded for Prestige in the 50s... never got around to ordering the guy's autobiography but I might at some point...)

a funny thing about "Jazz goes Swinging" is that the "St Tropez Jazz Octett" is basically Placebo, the Belgian answer to Soft Machine... these were professionals who would play any style... just remove the trombones, replace one of the trumpeters and the bassist and you have the band that can be seen playing fusion a few years later, starting around 32:30 in this video (the other bands in that video are also interesting, a Fats Sadi Quartet and a Rene Thomas Trio)