Niko

The second Tony Fruscella Atlantic album got out as well

@sonnymax: yes, of course... since I was 16 or so, my mother has been telling me how classical (her music) is not doing greatly in terms of sales, in terms of an aging audience etc etc but it's still doing a whole lot better than jazz (my music)... and early on I decided I don't care because I never entered this game to win...

"to compare music streams to album sales, it is assumed that 1500 streams equal one album sold"... I've bought some cds that I haven't played even 500 times... 5 times... I will play them all some more ... but 1500 still seems ambitious...

the original report has both, in terms of units the CD is ahead but only slightly (10.2 vs 8.8 million) https://www.riaa.com/wp-content/uploads/2020/09/Mid-Year-2020-RIAA-Revenue-Statistics.pdf I also thought that this is a pretty cool tool for visualizing the market evolution of, say, the CD single vs the cassette tape vs the ringtone: https://www.riaa.com/u-s-sales-database/ I was actually wondering how this revenue split looks by genre, e.g. for something like the Monk Palo Alto album where Universal had to give away everything non-physical to Columbia... for the average album, this would have been an absolute disaster but maybe stuff looks different in the jazz world...

this here looks like it might be part of the answer: https://archives.libraries.rutgers.edu/repositories/6/resources/349 " This collection consists of nine audio tape reels. There are six 3 1/4-inch reels and three 7-inch reels. These include Alan Sukoenig's original recordings of live peformances by John Coltrane, Hasaan Ibn Ali, and Elmo Hope. Also included are recorded copies Sukoenig made of unissued Ibn Ali recordings from 1962 and a recorded interview of Thelonious Monk conducted at Pep's Lounge in Philadelphia by Sukoenig and Gerry Barrish in 1960. The Coltrane recordings comprise the saxophonist's famous 1963 performances at The Showboat in Philadelphia, containing the only known recording of Coltrane playing piano. The Ibn Ali recordings include 1964 performances at the University of Pennsylvania; 1965 recordings in New York City; and other unidentified recordings. The Elmo Hope recordings include 1964 performances at the West-Side YMCA Auditorium in New York City. The collection also contains recordings by saxophonist David Shier and Kenny Barron circa 1962. " Alan Sukoenig is also mentioned earlier in this thread as one of the producers of the Ibn Ali box and he's apparently the mastermind behind the Ibn Ali wiki entry https://en.wikipedia.org/wiki/User_talk:HomageToDonByas

James Leary has posted this video on facebook (where he is quite active) several times and it doesn't sound like there are additional tracks (which is a pity), e.g., "1968 was a transformative year for me(Graduated University of Arkansas Pine Bluff,Moved to California). In that year 1968,I wrote this composition Baptism because that is how if was realized for me 51 years ago. In 1970 I was in a college recording studio in San Mateo and handed this music to 4 great masters . For a Studio Engineer class at College of San Mateo, I was blessed and allowed to perform on bass and record my composition Baptism featuring,Hadley Caliman-tenor sax, Fred Berry-trumpet, Todd Cochran-Keyboards, Paul Tillman Smith-drums"

yes, that Smoke album should certainly be reissued - guess it doesn't help that Fred Berry is by far the biggest name in the group - of the rest, the only other player who has one more discogs credit beyond this album is vibes player Woody Webb who retained the band name and recorded a second LP (featuring Akira Tana and Curtis Clark among others... again not names that would justify a reissue even though there actually was one once)... the remaining tracks are on youtube as well iirc

drinking from the same Brouwerij t'IJ glass actually, but a different beer ... finally found a fruitbeer that I like, Bush Peche Mel... one of our local pubs is brewing a very nice one, but finding an alternative in the supermarket took kind a bit of trial and error

yes, you should know Fred Berry... he was an original member of the AEC or its precursors, he's on Roscoe Mitchell's Before there was sound (Nessa) and then went to the West Coast... he was in the group Smoke that played before Monk in Palo Alto 1968... here is one track from their album which you might like as well... (the whole thing is on youtube) it's an interesting career https://www.discogs.com/artist/305134-Fred-Berry

Led Zeppelin at the Fillmore East is helpful because that also points firmly to 31 January or 1 February of 1969 http://www.ledzeppelin-database.com/geekbaseweb/Datelistpage.aspx?Venueid=35&sort=0 unlike Monk and Led Zeppelin, Elvin Jones hasn't been that thoroughly researched I think... so while Joe Farrell is very plausible, I can't find any evidence quickly...

thanks, playing it now (it's also on spotify)!

you're really sure it was Thanksgiving and not 8 weeks later?

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