Niko

My first idea was Miles Davis Blue Moods with Britt Woodman on trombone and Teddy Charles on vibes plus a world class rhythm section (Charles Mingus, Elvin Jones)... most of the involved musicians can also be heard to great advantage on even better albums... but the sound of the band is kind of unique

as an added plus, the Forrest album has organissimo's own Randy Marsh on the drums...

I'd probably start with one of the free options and then upgrade if youreally feel the need... after all, I guess you don't want to design it in particularly fancy ways, or market the page beyond sharing a link to it here and there... that would come down to a choice between goole sites, wordpress and weebly or so it seems... here's a page that has recent reviews of all three https://www.shivarweb.com/17004/google-sites-review/

Black Lion was never great at creating nice product packages...

Here is the release page by the label https://1201music.com/black-lion-vault Tom Hull on his page notes that "Mal Waldron: The Search (1970s [2012], Black Lion Vault): Previously unissued piano trio, two songs (one also on a 1972 Enja album), 33:24, no credits for bass-drums, may have been recorded at Montmartre Jazzhuis in Copenhagen; second piece, "Entracte," is especially strong with its piano-drums dialogue; docked a bit for lack of credits. B+(**)" so Pim is not making this up seems to be a tape of Waldron playing two long pieces somewhere some time in in the early 70s... not hard to imagine that tapes like that exist, frustrating that the label does not even provide the most basic information - then again "recorded early 70s" may be all they know

Some more: What is the time frame, so for how long did this go on? Did Tina Brooks play elsewhere at the time, too, or was he basically a local player in Utica over several years? What was the development of sidemen over time (e.g. "Ron Jackson"), was anybody there for longer times, what were the major shifts? Thank you!

Could be, up north in Cologne, the public library had it when I was a kid in the 90s... but I wouldn't know anymore whether I ever read it (even though I read dozens of their jazz books)

According to the listing here (7 November 1955) https://www.jazzdisco.org/clifford-brown/discography/ your two Raw Genius LPs on Victor are the same as the Columbia double LP

Read it early into the lockdown, recommended! Bought from the Wire bookstore iirc

Two of those Chico Hamilton LPs have been reissued in that Impulse 2 on 1 series, one of the last great CD reissue series... But otherwise you're of course right... edit: and the Shirley Scott albums, too https://www.discogs.com/label/292976-Impulse!-2-On-1

Thanks for posting this! Played Compulsion yesterday, and then this Allen Eager LP which has one side live in a Quintet with Howard McGhee and Qamar on piano from 1953

What I thought... So is there a problem with the tape speed?

And the involved musician shouldn't be a drummer (like TS Monk) (if true)

My fading memory says that 1201 was by the same German company as Black Lion, around 2000 they had two series, the crappy "Jazz View" and the premium (though not premium looking) 1201... I have a few of their CDs and at least some of them sound really good (the Grant Green aka Dave Bailey album)

just did the counting as well - I got 36...

Thanks for the heads-up! here is the other one: https://joecastro.bandcamp.com/album/san-joses-mojo too bad it's digital only... but still, nice that it's out!

Vivien Garry and Teddy Kaye, see the article in the first post, which is really excellent

we're seeing a split of sorts with Mike posting things that are not strictly speaking discographies on jazzmf.com and jazzdiscography.com posting more discographies by others like Mike Weil's discographies or a very nice Jimmy Gourley discography that recently appeared... very happy about all this new activity!

what an amazing list, thanks for posting! Spent a lot of time reading the old version that Ellery Eskelin had posted... but that one ended with Coltrane on p.2...

I just searched a bit on the internet while playing Looking Ahead... it seems that Earl Sinclair Griffith is "the" Earl Griffith (only Earl Griffith born in NY in 1926 at least), he was born on 1 May 1926 and died in September 1961.

I recently read the 1953 edition of Behrendt book on jazz (thanks to Big Beat Steve for the gift!)... He also discusses the future directions for jazz. Of course, there is a big focus on Tristano and Birt of the Cool (in fact, Tristano has his own chapter which would be replaced by a Miles chapter in later editions). But one alternative path with big possibilities which he highlights is "Jump Bop" as played by Earl Bostic, Gene Ammons and others... despite all his faults, Behrendt usually tried to be fairly balanced, even included Kenny G in the 80s edition iirc without putting him down... and he also has a few pages on soul jazz in the 1973 edition I have here, forgetting John Patton but at least mentioning (without further comment) Don Patterson, Lou Bennett, McGriff and others I am also not sure whether it's always just oversight... if you want to guide people to the best albums ever, then Stanley Turrentine may be as important as Albert Ayler... but if you want to explain how jazz evolved over the 20th century and how the pieces of the puzzle fit together, I would argue that you need to say more about Ayler than about Turrentine

have been a big fan of Nicolas Simion, ever since I saw him in one out of five surprise bands in a "wildcard" concert 25 years ago... he really is underrated... one stupid question, asking as a Barney Wilen collector: are those two Waldron/Wilen albums identical or are there really two albums?

There are also the Prestige pages here http://www.jazzlists.com/SJ_Labels.htm and here https://www.jazzdisco.org/prestige-records/ both not perfect but quite useful depending on what you need.

"PopCult Partner, Strategy and Marketing Lars Murray says, “We were excited to help Verve establish a leadership position among labels by creating a high-quality narrative podcast that integrates their music seamlessly and tells a great story about a landmark release. Verve demonstrated that a label's access to licensed music is a huge advantage in podcasting.” too bad Norman Granz isn't around to read this anymore... or hear the podcast which might well be Monk's Verve debut, so quickly after his Impulse debut... I also like the neutral formulation "access to licensed music" in the last sentence - nothing said about who owns those licenses...