Niko

As a very very minor comment, one thing I learned in the pandemic is that everybody should have an app like camscanner on their phone... Makes it super easy to produce an easy to read pdf document rather than a sequence of photos...

I am a fairly big fan of Ruud Brink and have his three cds on Blue Jack two of which are now reissued in Japan including the one you mention... he's something like the Dutch Zoot Sims or Stan Getz, so if you like those two he might be interesting... unlike them his discography is much smaller (basically just one slightly commercial album in his lifetime, very little nice small group stuff). I think the album under bassist Jacques Schols name is the strongest, cdjapan it's from the 60s when all concerned were in great shape + it's a great rhythm section... But I do think that the Agerbeek Brink album is a really nice one as well... everyone is great spirits that night with Brink imitating popular singers on one or two tracks and playing a really nice clarinet solo a la Goodman on one track (while exhibiting is trademark tenor playing everywhere else). Btw, former board member bluerein is selling off his stock of Blue Jack Jazz Cds on discogs and has very fair prices on some of them (the original issues, not the new reissues) including the Agerbeek / Brink one... https://www.discogs.com/Rob-Agerbeek-Ruud-Brink-Pardon-My-Bop/release/10644509?ev=item-vc

familysearch.org it's quite amazing what you can find out in a few minutes on your couch from thousands of miles away... here is a summary of what I found about Our Miss Brooks Ellen Davene Brooks, born 8 March 1937, and John Eugene Patton, born 12 July 1935 married 11 Jan 1964. Ellen Davene Brooks (and twin sister Evelyne mentioned in the liner notes to Pattons Oh Baby) born in Cross Creek to Roscoe Conklin Brooks Roscoe Conklin Brooks (b 1907 d 1990) was the son of Ellis Walter Brooks (*1881) and Delvie Mitchell (*1888), they married 1 Sept 1906, Ellis died 4 Oct 1941, was a Teacher, born 2 October 1880 in Woodsdale, Person County NC, his parents: Alex Brooks & Mary E Woods and about the saxophone playing Brooks brothers: Tina Brooks (Harold Floyd, born 7 June 1932), son of David W Brooks Parents of Bubba/Tina Brooks: father David W Brooks, born in Robeson County (Red Springs, North Carolina), age at Bubba's birth 29 (= born ca 1893), mother Cornelia McAlister b Fayetteville 1894, Address: 908 Robeson Street Grandparents: William H Brooks (* Dec 1853 in NC, parents already born in NC) & Christian Brooks in Red Springs NC

just to clear up the mystery I started there, I quickly looked throuh the ancestors of both Bubba / Tina Brooks and "Our Miss Brooks" and even though they come from similar parts of North Carolina, their parents and grandparents are distinct so if they are close cousins it's not via the Brooks side of the family...

I looked a bit in that thesis on John Patton http://andybleaden.blogspot.com/2007/07/thesis-on-john-patton-by-javier.html but didn't see anything particularly relevant... I did make an unrelated observation though while reading here and there: The Harold Vick tune "Our Miss Brooks" is dedicated to John Patton's wife Ellen Brooks, "a fine pianist and artist" who was originally from Fayetteville NC... Now I just realized that Fayetteville NC is a less obscure place to come from than I thought... but still there's the possibility that she was related to Tina and Bubba who were also from Fayetteville... in other news, Patton does play keyboard rather than organ on that 1977 Johnny Lytle album

thanks, had been impatient and read up already yesterday but I see there's again a new one... re promotion, a tiny thing that would have helped me yesterday: Maybe you could put the link to your blog into your signature (like HutchFan has it)? Don't know if that fools search engines... but at the very least it makes it easier for us to remember and find it with almost no effort

that one is a big favorite over here... another one I like a lot is Masabumi Kikuchi's Sunrise - but I guess that is an acquired taste

If it counts, I'd throw in this one Abraham Burton / Eric McPherson - Cause and Effect... they did come up through bands like Art Taylor's at approximately the right time but they are evidently not wearing suits... and Greg Osby's Banned in New York (not really a young lion, but clearly a postbop album), I also like some people from BIllF's list like Joe Magnarelli or Peter Bernstein... A postbop scene I really liked was the one around Luke Kaven's (original) Smalls Label released a bit later but still documenting a bop scene from the 90s iirc, some older artists like Gil Coggins or Frank Hewitt, some younger ones like Sacha Perry or William Ash... Ash's The Phoenix was a nice album for instance... (but Ash is otherwise a worse example than e.g. Perry because he's really too young) there are some old threads on this board re that scene

I just found something on google books, an interview collection called "Living the Jazz Life: Conversations with Forty Musicians about Their Careers" where Waldron says he had to return to the US in late 1965 to finish the movie score (link, don't know if it works)

Very nice project, looking forward to updates! One question / comment already: I am not convinced by the date given for Sweet Love Bitter... apparently the movie debuted in January 1967 so that would place the given recording date (March 67) after the release of the movie... If I had to guess, I'd say this date which is given as a recording date e.g. on wikipedia and jazzdisco is really the release date here... also, in Waldron's chronology it feels a bit strange that he would leave his European career for a moment to reassemble his old New York working band (Al Dreares on drums etc) and record a soundtrack after the release of the movie... seems more likely that Sweet Love Bitter belongs into 1965 or early 1966 ... but I can't find any hard evidence (copyright claims at the library of congress are from February 67)

Dorham/Henderson on Uptown came out in 2010...

looking at when people like Chuck Nessa, Matthew, sidewinder, mikeweil, ghost of miles (on this page here) joined (all between March 6 and 8) it must have been early March 2003, maybe late February...

same here, I was in my mid twenties when I joined this board... but it's been a while, so now I'm also approaching 40... re generations: it's not so much listening to music on cd or vinyl which is unknown to today's 25 year olds...but rather the practice of exchanging ideas on an online bulletin board

Happy Birthday!

after having played everything once, I would say: I am happy to have this but you're not making the problem up, the first set is clearly better. The better half of the Paul Bley tracks is very very strong, the George and Flo Handy tracks on the same cd are interesting and really nice to have as well. Nothing wrong with the Groove Funk Soul album with Edwards, Vinnegar, Higgins either (except that the title doesn't fit), it has been out before but at least there are 12 minutes of additional tracks and 14 minutes of new alternates. The remainder of the set are 4 CDs that Castro as pianist has to pull off more or less by himself... for the two trio disks I would even say that they are slightly better than I would have expected... but they remain somewhat harmless + my exceptations weren't high... the other two disks are more in a "somewhat ambitious cocktail piano" style... and yes, you do get something like twice 16 bars of Cannonball Adderley solos... but what really stands out in the band on Mood Jazz is the Swingle Singers type ensemble singing...

Randy Weston made some of his best albums for French Gitanes, almost all highly recommended (=not the blue cd w the african drummers)… that label had quite a run in the 90s, both with historical reissues (Jazz in Paris) and new productions (Weston plus e.g. Teddy Edwards, Christian Escoude, Helen Merrill...)

it's one of the highlights of the Holy Ghost box...

I doubt that UMG now owns the recordings... I would have thought they belonged to Columbia and still do... I guess what it means is that whenever Columbia reissues some of Dylan's music a big check goes to UMG

only childhood memories, but the way I remember it: clarinet is one of the most benign instruments when it comes to intonation, probably better than any saxophone, definitely not comparable to soprano in this regard, you press the right buttons, you get your note... I'd say alto is the best designed instrument of all these by and large, baritone might be even better but it's kinda heavy to hold and carry around, soprano has those intonation problems, tenor has some problems when it comes to producing the lowest notes... clarinet and bass clarinet have a wider range (e.g. at the bottom alto and clarinet have almost the same range but clarinet can go much higher at the top without using any non-standard tricks) but the price you pay is that there are more different fingerings... but since saxophone fingerings are largely a subset of clarinet fingerings, someone who started out on clarinet will usually not have a problem playing saxophone (or flute for that matter) in that regard...I'd say that probably if Stitt never played clarinet, it's because he didn't want to.

There's also singing Stitt on Prestige (Mama don't allow, on The Bossmen iirc) and of course there's alto tenor and baritone but I'm not aware of anything else

no, not in chronological order as this nice post from GA Russell explained

these numbers are loosely tight to ABV, so the 6, 8 and 10 have resepctive about 7.5, 9.2 and 11.2 ABV... heavy beers but excellent - which means they hide the ABV reasonably well... in that logic the new one would be the 7... the major innovation is that the 6, 8 and 10 are all dark beers while this one here is a blonde one... in the logic of these trappist beers, a Dubbel is a somewhat heavy, sweet dark beer with about 7%, a Quadrupel is a decidedly heavy, sweet dark beer with about 10% while a triple is a somewhat fruity/spicy blonde beer with about 8.5%... so the Triple makes perfect sense here because it signals the lighter color and somewhat different taste...

Never had that one! Happy to now live in a place where seven of the twelve existing trappist beers can regularly be found in supermarkets... but have to look into the gaps at some point

To explain the significance, let me cite a review from ratebeer.com "The trappist monks of Rochefort are not known for being very progressive or open to change - in fact, their range of just three beers, each one based on the other, is perhaps the most stable and 'fixed' of all Belgian breweries: since the introduction of the 'intermediate' Rochefort 8 in 1954, joining the already existing 6 and 10, absolutely nothing has changed. Until now: after I have been playfully pondering about the idea for years, the monks suddenly decided to create a tripel, their first new beer in 66 years (though it seems to be inspired by a brew they made somewhere in the 1920s). I could hardly believe it when I first read about it - I thought it was some or other practical joke among beer geeks on social media, of the kind you see popping up each year on April Fool's Day - but I have it right in front of me now and it is indeed very real."