Niko

Jazz Jamboree 78 Vol 2 contains one side by a Bernard Lubat group (a quartet according to the LP, but a report about the concert confirms the impression that this is a trio with Lubat doubling on piano and drums, Christian Escoude on guitar and someone like Didier Levallet on bass). Plus one track by the Hungarian fusion band Bergendy and one great track by the Bernt Rosengren Quartet that's also heard on this LP

Indeed, it's hard to say how far these radio companies' rights went... would they have been allowed to issue Live LPs of the material in the US at the time? I somehow doubt it... then again, maybe nobody thought this far... The one contract I've seen (for the session behind Dolphy's "Last Date") is not terribly explicit, but the way I would read it, it seems clear that the Radio Company owns everything (and that Dolphy's contribution would be treated similarly to, say, a radio interview) from here

[after a more than a decade on the .org and a day of trying to make sense of some fancy ee papers:] sidewinder also has a reasonably fancy ee background

this one here has a wonderful drummer and at least on amazon.de there are some very good used deals

They don't look that young in their college yearbook... (search inside by last name..) https://texashistory.unt.edu/ark:/67531/metapth38605/

According to Szwed's book, the Montreal band generally consisted of Walter Strickland (tp), Marshall Allen (as), John Gilmore (ts), Sun Ra (p), Ronnie Boykins (b), Billy Mitchell (dr), Ricky Murray (voc) most likely venue for medjuck's concert is "The Place, a coffee house across the street from McGill University" (alternatively the Mocambo on St Catherine Street - or anywhere else...)

Katja von Schuttenbach, the author of that piece in Jazzpodium [as an aside: there's an English translation of the text at the end of the document] keeps a JH Facebook Fanpage with loads of fascinating stuff... https://www.facebook.com/Jutta-Hipp-148942215117356/ one could probably ask her for the Tom Evered source... (I would guess that this was simply an email/word document he shared upon request?)

I'm pretty sure I read that article, too... probably in the stack of recent JazzPodium editions in the Cologne public library... given that I was born 1981, this was certainly not before 1993, most likely 1996 or 1997... I don't think it really was an interview but just a biographic piece by a woman who had tracked her down and talked to her (an art historian from Berlin is what I remember - she didn't seem that young to me then) edit: completely misremembered, this is the article http://www.vonschuttenbach.com/articles/Jutta_Hipp_Jazz_Podium_July_2006_new.pdf 2006 - but Jazz Podium articles are hard to place in your memory because their layout remained stuck somewhere in the late 80s for a long time...

"there are countless examples of this on Blue Note albums. " is really the moment where I thought it probably IS legit but I'll leave the listening to others

John Tirabasso Quartet - Live Jazz At Dino's part of an extended Frank Strazzeri listening program (but Gary Foster doesn't disappoint either)

while looking at the Dolphy site, I stumbled upon this really nice report on Dolphy's Dutch tour http://adale.org/Discographies/KartingHolland.html there's also a letter by Dolphy, written three weeks after the above recording (and probably delivered more or less on his final day...) "can [you] let me know what Han Bennink is doing the rest of the summer and how I can get in touch with him"

A better discography is the one by Alan Saul http://adale.org/discographies/edintro.html at least for most sessions you'll find track by track info on the instruments Dolphy is playing...

and then sit back and let the leaks come in

wondering whether this is really Jon Eardley and Jacques Pelzer with Strings... https://www.discogs.com/Ken-James-And-His-Orchestra-We-Go-To-Midnight-Party/release/2269319 https://www.discogs.com/Jon-Eardly-And-His-Romantic-Strings-Midnight-Music/release/4525743 it does sound plausible (and not like a high point of their careers)

Jon Eardley - Jazz from the States (not really from "the States" but recorded here in the Southern Netherlands)

I guess I'm on ignore for previous misdeeds (which is fine with me)... but be that as it may: I think jsngry just wanted to underline/emphasize your question and did so with a funny picture... (I didn't get that joke either...) imho (and maybe I missed something) either "Edwards Mosaic" is a typo (most likely in "Edwards") or it means "Teddy Edwards Mosaic" which could be fairly exciting... (The legendary session with Don Sleet and Daniel Jackson playing Ornette recorded by Lenny McBrowne's wife ?!?! and more...). edit: the relevant portion of Lord's musicians list https://lordisco.com/musicians/E2.html

of course, my perspective is European and biased by the subset of the population I meet the most... and I wouldn't speak of increased interest... but I really don't think that there is that much of a difference between people born, say, in 1950 and in 1985 when it comes to interest in jazz... one way in which Spotify actually seems to draw some people to jazz is through the subgenre of "unobtrusive piano music for falling asleep" - put predictably this doesn't lead to much exploring (because people are asleep when the music worked out well for them), see here and especially here

I've heard that story "now that I have spotify I can really start exploring genres I never had access to" exactly once... the guy (around 30, indie background) was thinking of Mozart operas rather than jazz... that being said, most of my colleagues between 30 and 45 have at least some interest in jazz (I've been asked to explain concepts like "standards" [is it really unclear who is associated with what song?] and "improvisation" [is everybody improvising at the same time?] by different people in the last few months... when there are interesting concerts, most want to be notified). In contrast, most of the older guys (still working, so below 67) prefer rock to jazz... by and large, I don't think that interest in jazz has changed that much over the past four or five decades... how/whether people buy records has

of course it's not a cause for the problems, it's just a strong indicator that they misperceive the problems... for instance: if you have a high quality product to sell (which they do) you don't advertise that one to me with a freebie that I could recreate in higher quality in 25 minutes max. I don't hate anyone and I actually like Mosaic quite a bit... I'm just trying to help, knowing that if I post something valuable here it will find its way... and if not, then I probably didn't.

In last week's Sunday Gazette there were still two entries by MC (one referring to GoM's Nightlights, the other to Ethan Iverson's blog - nothing new there)... but: this Sunday, the Gazette seems to be delayed.... edit: but there is a new edition on their website, including more links set by MC... if he's the former president, that must be very recent

from lineups I've seen elsewhere plus what seems to be written there I would guess it's Ajaramu (aka Joe Shelton aka Gerald Donovan)

Useful AB chronology by a long gone forum member http://www.jazzdiscography.com/Artists/Blakey/chron.htm apparently, there was quite some confusion after Mobley's arrest with Barney Wilen and possibly Jerome Richardson in the saxophone chair before Wayne Shorter took over... reads like Mobley was back for good but in deep trouble at the time... (My main take home message from this list is however that musicians really shouldn't be trusted for dating anything... )

in my case, I'm pretty sure that the occasional hick-ups are due to the Bluetooth receiver: I get them regardless of whether I stream directly from Wifi, or whether I download music into spotify to play it from there... And when I'm directly streaming music on my phone or laptop, there are no hick-ups... regarding streaming vs ownership: I view spotify more like a substitute for library than a substitute for my own music collection... of course, they don't have "everything" and sometimes stuff comes and goes ... but compared to pretty much any physical library in the world, they're doing extremely well: "Borrowing stuff" is much more convenient and the selection is far better... Of course, you don't get a sense of ownership - but given how vast their collection is that would be a bit too much to ask. The entire (?) Steeplechase catalogue is in there - but I would not even want to feel like I have it all in my apartment in physical form. Nevertheless, it's pretty cool that I can spontaneously start exploring Dexter Gordon's Steeplechase albums while travelling on a train...

Again according to the back cover (found on discogs under "more images"), the piano playing on Plays Duke is by Scott herself

Given the limited information it's hard to judge whether all of it or just most of it is commercially issued... Strange idea to digitize that collection! Then again, those massive private cassette collection were a big thing in their time (as is currently discussed elsewhere here)