Niko

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

in addition to what you directly see on discogs (not much, but also not nothing), he's on at least two Papa John deFrancesco albums, Comin' Home and Hip Cake Walk...

Thanks a lot! I have been using versions of your Patterson discography for years now... I have one tiny piece of extra information: on Blues for Ginni from O.D., Al Grey's son Michael sits in for one chorus on trombone... I first read this here on his youtube channel, but it's even stated on the backcover of the LP ("This piece also includes a musician not listed in the credits [which are like 10cm to the left from where this is written] - Al's son Michael [...] who sat in to record his first chorus on slide trombone")

I am not much of an expert (i.e. I am unfamiliar with other later live releases, only know Mexican Green and the Fontana Box a bit...). I streamed it on and off over the day via https://jazzinbritain1.bandcamp.com/album/free-flight-the-ron-mathewson-tapes-vol-3Bandcamp and then placed my order... so I liked it a lot, sound doesn't seem to be perfect, but it's just a nice free-bop live set with long tunes, some old standards in there... I think it's very good

that was one of my first CDs in 90s, it was reviewed favorably in the first or second Jazz magazine I ever bought, I liked what I read and so I got it... has rarely worked this smoothly later on... Tubby Hayes - Free Flight

Any idea where in NY or Philadelpia (Sid Simmons of Visitors fame!) this picture was taken? Thanks!

those are the two that made history... or is there a well-known #3?

that was my first impulse as well ... also that Miles Davis phase in the late 60s, Bitches Brew, In a Silent Way... feels classic to me... Accent on the Blues, of course, I still see a lot of classic stuff coming out in the years after Coltrane's death...no, not far away from Coltrane, and after like 1982 stuff becomes even more difficult... and, yes, with Bitches Brew, the point was never glory note by note... I mean, you might argue that glory note-by-note is really an ideal from the 78 era which was still somewhat alive in the early 60s among musicians who had come to age listening to Duke Ellington's Koko...

for me, this episode is the moment where the two remaining major labels finally lost any remaining moral rights to all the tapes they're sitting on... legal entitltements move more slowly than moral ones, for good reasons, but the direction tends to be the same ... we've seen the point of game over

possible, of course, but I would find that quite surprising... this is how estates might behave, but corporations? btw, you asked about Zev Feldman's involvement, he is quite explicit about it here https://blog.discogs.com/en/thelonious-monk-palo-alto-zev-feldman/ this passage is not without irony in retrospect: "Sometimes projects just aren’t meant for certain labels, and Palo Alto certainly falls under that category. The Monk family told me about the Palo Alto recording in 2017 and we started working towards a deal with Resonance that didn’t materialize. From there, I introduced the family to my friends at Universal Music Group and they became engaged in conversations about a release with the Verve Label Group on Impulse Records!"

that's a lot better than the date in late 2039 someone on twitter reported https://twitter.com/e_laduca/status/1287574275856179200/photo/1 guess what we are reading here are different readings of "not anytime soon"

like I wrote above: For Monk's 1970 Japanese recordings, some type of clearance from Columbia was necessary according to Kelley's bio - so whatever the contract was, it seems safe to expect that some time of clearance would be necessary here as well...

agree, Columbia being the problem now would mean the maximum possible screwup / embarassement on the side of Universal / Zev Feldman etc... then again, all the signs point towards a pretty big screwup...

my best guess is that Monk was still under contract with Columbia and they are now making trouble... Kelley's book mentions that some type of clearance from Columbia was necessary for the 1970 Japanese live recordings... so that would certainly apply here as well ... of course,it's also not hard to figure that out ... so ideally Universal would have settled this early on when preparing this release... btw, don't know if this has been posted before, there's this website which collects promo material https://www.uk-promotion.de/wp-content/uploads/2020/06/ including many pictures for the Monk release and also Robin Kelley's nice liner note essay... https://www.uk-promotion.de/wp-content/uploads/2020/06/Robin-Kelly-Monk-Palo-Alto-Liner-Notes-Final.pdf