Joe

Sad news. Fine drummer; always tasteful.

Thanks all. Its those limited edition Japanese issues that probably account for much of my confusion as to what, actually, has been brought to market. Given that so many of the original LPs were sourced (so to speak) from live dates, I have to wonder about unreleased material. But, then again, we probably would have heard much of that already. The later / 70s material is not to everyone's tastes, but, the more I listen, the more I feel it has -- at the risk of sounding patronizing -- anthropological and historical value beyond musical quality, however measured.

Perhaps this has been addressed here before (though an admittedly cursory search of the archives doesn't turn up anything) but I've been listening recently to Cannonball's later Capitols (QUINTET AND ORCHESTRA, THE BLACK MESSIAH) and wondering, "Why hasn't this been a Mosaic set?" But the question that follows -- "Well, how big of a set would this be? Too big? How much unreleased material might there be?" -- is one I feel completely unequipped to answer. By my count, the number of original LPs issued by Capitol comes to 19 or 20, depending on how you account for the Nancy Wilson date. But how many discs is this, really? A feasible number? If not, how might it makes sense to divide this material up? Would you somehow cull out the stuff that folks most likely already own? Whatever the case, I do feel like these recordings would benefit from a Mosaic-like presentation. All thoughts and opinions welcome.

Love Barrow's tone on all his instruments. And I've long wondered about that Amram-Barrow date...

I've long wondered about Crowe as well. IIRC, the original notes to Dickerson's Prestige / New Jazz dates don't offer much background. WD, in a 2003 interview with Hank Shteamer, on Crowe (and, bonus!, John Dennis): http://darkforcesswing.blogspot.com/2007/06/in-full-1-walt-dickerson.html

Dick Cary also arranged some really interesting neither-trad-nor-modern charts for a colorful (tuba and vibes!) Bobby Hackett group in the late 50's... I believe their lone studio recording is the Capitol GOTHAM JAZZ SCENE, but there are also some airshots that were made available on a Viper's Nest release back in the 90s'... OFF MINOR. John Dengler handles the tuba duties, and Ernie Caceres is featured on clarinet and baritone sax. Worth tracking down.

Bill Roper Henry Threadgill has often used tuba in his various ensembles... Marcus Rojas on MAKIN' A MOVE (and other 90s recordings), Jose Davila as a member of Zooid... Also, Gaincarlo Schiaffini's TUBA LIBRE on Random Acoustics.

Various sources date THE SWOOPER as having been recorded / released in 2001. Apparently, a record of duets with bassist DeWayne Oakley also exists... http://www.discogs.com/Christopher-Lowell-Clarke-And-Dewayne-Oakley-Christopher-Lowell-Clark-Dewayne-Oakley/release/2829460 I'm satisfactorily intrigued.

In LA there was Lloyd Reese (Dexter, Mingus, Dolphy all studied with him), but I believe he gave private lessons and was not affiliated with any particular school. Maybe (Thomas) Jefferson HS in South-Central? Don Cherry attended Jefferson - who and how many others? DuSable HS in Chicago is now a 300-student school, one of 2 or 3 or more stuffed into the campus of the original DuSable HS. The way Chicago public schools have been reorganized is amazing, not in a good way. The tenor player David Boykin was teaching music at DuSable a few years ago, I think another jazz musician teaches music here now. According to the internet Roy Ayers, Ed Thigpen and Dexter Gordon all attended TJ. Not yet able to find mention of a specific teacher there along the lines of, say, Chicago's Walter Dyett or O.W. Fredrick.

Excellent! Thanks for the tip.

In LA there was Lloyd Reese (Dexter, Mingus, Dolphy all studied with him), but I believe he gave private lessons and was not affiliated with any particular school. Maybe (Thomas) Jefferson HS in South-Central?

An institution with a long and rich musical history... its difficult for me to name a Detroit jazz musician who doesn't or didn't have some connection to Cass Tech... and while that history is not explicitly addressed here, a nice tribute to the place it once was... http://www.slate.com/blogs/behold/2013/03/04/detroit_urbex_using_photomontage_to_compare_the_history_of_cass_tech_high.html

http://www.emanemdisc.com/E4043.html http://www.emanemdisc.com/E4106.html

http://en.wikipedia.org/wiki/A_Wizard,_a_True_Star SABBATH BLOODY SABBATH was released in December of '73

Let us know what you think about all of these once you've had a chance to listen and live with them for a while! One more... from the late 60s / early 70s, but the producers did a wonderful job of capturing the heat and grit of McDowell's slide guitar tone... one of the great "sounding" electric blues records, IMO, intimate and spontaneous. I prefer the Fuel 2000 mastering (from 2001; appears to be a straight reissue, but features a few bonus cuts) to the earlier (1995) Capitol issue... which, however, contains the complete sessions on 2 CDs...

Slightly more traditional -- as much as these truly idiosyncratic artists are part of a tradition -- but excellent nonetheless: Joe Diorio / Ira Sullivan, THE BREEZE AND I Also, Julius Hemphill's mulitracked solo masterpieces: ROI BOYE AND THE GOTHAM MINSTRELS and BLUE BOYE... and his duets with Oliver Lake (BUSTER BEE).

Obviously you've not seen the Sonny Bono sex tapes. http://www.youtube.com/watch?v=BE3yqL5GWCE http://www.discogs.com/Charles-Earland-The-Dynamite-Brothers/release/789125

If we want to go full-on 60s classics...

There was also a Cobra Records box set that was released in the early / mid-90s that's worth finding in used condition. Failing that, this Fuel 2000 collection looks to contian much of the same material... In fact, that entire series looks pretty promising (volumes covering Enjoy, Chief...)

Yes, it could be that Harrell has settled into a groove. I confess to not being as familiar with the earlier leader dates, part of that being my aversion to some of other players on those records. And the RCA records seemed too much an attempt to glitz him up. But the Highnotes has definitely made me want to reassess my listening with respect to his entire body of work.

Mack Goldsbury, April 19 @ UTD: http://www.utdallas.edu/calendar/event.php?id=1220269451. How many cats have played with both Tim Berne, Charles Earland and Cher?

Been catching up recently with Harrell's Highnote discs of the last few years. VERY impressive stuff: Harrell's compositions almost never fail to offer something of interest, and hes assembled a pretty crackling quintet. NUMBER 5, the latest release by this group, features different combinations and re-combinations of Harrell, Wayne Escoffery (ts), Danny Grissett (keys), Ugonna Okegwo (b) & Johnathan Blake (d). But THE TIME OF THE SUN from 2011 is, IMO, the best of these recitals I've heard thus far. Overall, or in every dimension, Harrell may just now be making the finest music of his career.

T-Bone's Imperial recordings are pretty essential, and remain in-print... http://www.amazon.com/Imperial-Recordings-T-Bone-Walker/dp/B00000DRCV As a single-disc summary of T-Bone's whole thing, his Atlantic LP is not a bad way to go: If you can find the non-Mosaic issue of his Capitol / Black & White recordings (used copies turn up every now and again, and there's always iTunes)... Oh, and as far as Lightnin' Hopkins goes...