Niko

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."

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)