Niko

I just checked your story against Kelley's book becaue I was surprised to see an entirely different rhythm section... according to Kelley, the quartet with Gales and Riley played the Thanksgiving week at the Jazz Workshop in San Francisco (having stayed in California since the time of the Palo Alto gig) and then returned to NY after Thanksgiving without Larry Gales who decided to stay in California. Back in NY, Walter Booker war hired and the group played at the Club Baron in Harlem... then Ben Riley left, was replaced first by Mickey Roker, then by Art Blakey for a weekend and finally by Roy Haynes... the group you saw debuted at the Village Vanguard in late January 1969 (and didn't stay together for long)

there's a solography for Gilmore until 1965 on Jan Evensmo's site http://www.jazzarcheology.com/artists/john_gilmore.pdf

that was a longer goodbye than usual but it's official now... https://www.npr.org/2020/09/07/910054995/gary-peacock-a-jazz-bassist-always-ahead-of-his-time-dies-at-85

a tape of Paz with Holdsworth was recently issued by JazzInBritain, it's download only / name your own price (and today is bandcamp friday)... played it once and liked what I heard but it was also my first exposure to Paz so I'm not really in a position to judge... https://jazzinbritain1.bandcamp.com/album/live-in-london-81-the-ron-mathewson-tapes-vol-2

costume by Yves St Laurent, hair by Alexandre, they really tried to get the very best of everything...

again some updates to the discography... the important new piece of information is that besides the old boxset ( Sunnyside SSC 1391 ) and the new boxset ( Sunnyside SSC 1393, six CDs, scheduled for November) there seem to be two be two single disc releases, Sunnyside SCC 1421 and Sunnyside SCC 1422. In the new boxset, the first two discs are like Dan wrote above, Castro trio and the Paul Bley + George Handy. The third and fourth disc look like they are essentially Castro's two Atlantic albums, Mood Jazz and Groove Funk Soul. Sunnyside SCC 1421 collects about 75 minutes of Castro jamming with Ann Richards and members of the Chamber Jazz Sextet. The remaining three CDs, i.e., disc 5 and 6 of the new boxset plus SCC 1422 seem to be related to the Clover Records albums of Joe Castro (called Lush Life, that track actually isn't in the other boxset) and Kitty White. Didn't check carefully here but it seems as if SCC 1422 is a reissue of the Kitty White album.

I got Mover's Trio album on Xanadu last week and that made a strong first impression...

if it's just about that essay, you can also read it here https://www.uk-promotion.de/wp-content/uploads/2020/06/Robin-Kelly-Monk-Palo-Alto-Liner-Notes-Final.pdf

I would argue (have read that elsewhere and found it convincing) that even if simply fooling people was van Meegeren's intention, there is something about (e.g.) this painting which is genuinely expressing the sensibility of 1937... (e.g. it has a bleakness which is not in the real thing... it's easy to believe that this guy comes from generation of socialst realism etc). back to the original topic: played the Swana album a few times over the past few days, it's great, thanks for the recommendation...

indeed, downloads tend to be quite pricey in comparison, probably because most people who buy them would never bother with the CD... in particular, if it's something I can stream "for free" on spotify, the added value of having a file on some harddrive is almost zero to me... even if it should be pulled from spotify at some point, I can usually still wait with buying a download until then because that one's unlikely to go out of print... in that situation, buying the download is almost purely a donation to the artist (which may be well-deserved)

same here, basically, I really don't like the thought of having 3000 albums in 3000 folders on a hard drive that I have to organize and back-up myself... it's not a matter of ability, there are some poor souls out there whose job consists to a significant part of working with a database frontend I programmed as a student... it's a matter of taste... I like it that I can, say, put the Joe Gordon album with Jimmy Woods next to the Jimmy Woods albums in close proximity of my small Horace Tapscott collection on the one side and my Sonny Criss albums on the other which then lead, e.g., into the West Coast Jazz corner... you can argue that I pay a high price for being able to stand in front of my collection and letting my mind wander from one corner to the next... but I enjoy it tremendously, and at the moment I also have enough space... it's just nice to walk into my room and have it all there... booklets are another topic, I like to have them around overall, being as objectively reasonable as possible it not one of my goals as a jazz fan... regarding streaming and the audio setup, I have active boxes with a blue tooth receiver... the cd player is directly connected to the boxes with a cable but my player for the LPs is connected via bluetooth in the same way I connect my laptop or my phone (the guy in the audio store was a bit shocked that someone want to buy a player like that... are you actually gonna use the bluetooth? he asked...)... and, admittedly, it does happen with some regularity that I am too lazy to dig out a CD I own and just stream it with spotify... regarding buying, I am mostly buying used LPs by now, also used CDs if I can find them... for new releases it's still mostly CDs but also some downloads via bandcamp if there is no better option... I like physical stores and at least here in the Netherlands the possibilities for buying used CDs are very limited by now, only two really good shops I am aware of, buying LPs is just more fun... what I buy in terms of used CDs, I buy almost exclusively at discogs.

indeed... and my feeling is that these listings have been expanded recently, jamming with Dexter is mentioned in Chapter 5, but no recordings are mentioned....

well, there was this very crude listing that Castro Jr posted somewhere on the internet (p.2 of this thread for details) at some point between the Fantasy CD with Zoot and the first boxset, let me copy once more Stan Getz-Zoot Sims-Gerry Mulligan-Oscar Pettiford (amazing) *Billy Higgins-Teddy Edwards-Lucky Thompson-Leroy Vinnegar- Teddy Wilson-Dexter Gordon-Anita O'Day-Chico Hamilton- *Zoot Sims w/ Teddy Wilson *Stan Getz w/ Teddy Wilson Buddy Colette-Red Mitchell-Jimmy Gourley-Chuck Wayne- Lou Levy-Ron Jefferson-Mel Lewis-Jack Sheldon-Buddy Jones- Allen Eager-Philly Joe Jones-Paul Chambers-Vernon Alley- Monte Budwig-Paul Motian-Sonny Truitt-Gary Frommer-George Handy. *Oscar Pettiford-Lucky Thompson-Zoot Sims- *A 50-minute ‘avant garde’ piece by Chico Hamilton that mixes classical & jazz. here, I added stars for stuff that's in the first set back then... there are a bunch of interesting names in here that apparently didn't make into either set, Dexter, Allen Eager, Lou Levy... the only hint at what's now apparently in set #2 is the name George Handy... I don't think there've been deletions in the discography, at least not compared to the version from March... not vouching for every single take of "Everything happens to me" being still there but I've checked it regularly over the years and am pretty sure that no truly interesting session has disappeared... Dexter Gordon I would definitely remember... regarding those obscure horn players, that's basically the "Chamber Jazz Sextet" which recorded quite a bit around 1960, e.g. behind poet Kenneth Patchen... saxophonist Modesto Brisenio is also on Teddy Edwards' Back to Avalon session

thanks, now playing it!

same here, I couldn't find anything in the logs, no reference to that session with Bird which has been around for years, no reference to that Big Bob Dougherty recording that carries the same label... then again, the document does look a bit messy... those 1943(?) Parker recordings are out there and they sound totally different, clearly before (most of) bop happened it's a really nice session actually

what seems pretty clear is that the labelling of this particular record occurred after Parker's return from Camarillo in January 1947 - otherwise the title doesn't make sense... (put differently: even if the composition was around before, it certainly wasn't called Relaxin at Camarillo... it was apparently sometimes called "Past Due"). Given that we are dealing with an acetate that was most likely produced right after the session, it seems safe to date this after the Dial session of February 26 1947...

sounds to me like he looked at the discs but didn't listen to them... (jabird provided the link to those Damon logbooks already on the first page of this thread)

I played this one from 1984 yesterday and liked it a lot

thanks, really like the little Hallberg I've heard! 19 titles as in 19 albums btw and I actually count 22 on my spotify...

ok, this looks like the type of info that is well-served in an old-fashioned list that might accompany a discography but might also stand alone... (like Michael Fitzgerald's Art Blakey Chronology or Ricky Lopez work on e.g. Sam Rivers)

maybe... this album was recorded in March 62, certainly somewhat commercial, Peacock on bass or here https://www.youtube.com/watch?v=IMnzFM_Sq8s you can see Peacock as part of a Dixieland band in a 1961 movie (about minute 13-15)... Peacock in the early 60s was flexible

ultimately that type of thing is completely up to your discretion as a researcher I would say... I certainly wouldn't separately include all Fridays of, say, 1974-1977 saying he probably played at the West End, no players, no tunes known... But, e.g. having a single entry for ca 1974, providing the info you have (radio station, likely players, location, approximately from April 1974 to June 1977...) would be a very valuable addition to a discography imho

An extreme example is this great Hod O'Brien discography https://jazzdiscography.com/Artists/OBrien/hod-disc.php which contains about 120 private tapes and some further unissued and unrecorded sessions among 180 sessions... most of the private tapes recorded by the discographer himself it seems ... fascinating reading but, of course, not the most essential part of the discography for many purposes... Still, I strongly appreciate it when these are included

there's a picture from that gig here and an ad for it so it seems it was real

speaking as a prime consumer of online discographies: yes, it definitely counts, i.e., if it exists, I'd want to read about it in a discography and I'd be disappointed if it was missing... many of the great online discographies like Mike's Brubeck or e.g. Noal Cohen's Frank Strozier discography contain stuff like concerts for which lineups and track lists are known even if it is not known whether a recording exists, see e.g. the last session here https://attictoys.com/frank-strozier-discography/ what is less important is a detailed listing of all subsequent reissues, especially if it includes dozens of dubious PD entries from spotify and the like... Cohen used to list these but has wisely deleted them since... btw in the case of Brooks, there already is a Leader Discography by Michael Fitzgerald https://jazzdiscography.com/Leaders/BrooksTina-ldr.php