mhatta

Woody Shaw's "The Moontrane" means me a lot.

RIP. His work on Mal's Hard Talk is memorable, but personally I'm impressed most by Joe Haider's Cafe Des Pyrennees. Blairman has very distinctive rhythmic sense.

AFAIK it has never been officially issued (and sound quality is not good), but I think the very best Rahsaan as a soloist can be heard on this New Year's Eve live at the Village Vanguard in 1973, Try " Wow, Look At Those Beautiful Black Indians". On this disguised version of "Cherokee", Rahsaan is clearly inspired by his sidekick Kenny Rogers (bari sax) and tries to outblow him. Kirk on full dueling mode, with some humor!

https://open.spotify.com/album/2QOPe4rF8rNLrEmKWBwxq9?si=mMNFDWX0Q5WdCqsM_u_IiQ

Now this music is available on Spotify. I guess some of you think there are already too much Dex, but I found this is quite enjoyable. Seems 1962 or 63 was the apex of Dex's long career.

I don't know if there's a Zoot completist, but the recently released Lennie Tristano Mosaic Box features one track from The Half Note ca. 1962, "How Deep Is The Ocean" played by Lennie, Lee Konitz, Sonny Dallas, Nick Stabulas, and for some reason not Marsh, but Zoot...and he plays tastefully as always.

My favorite (and seems rarely talked, and missing in Ken Dryden's great list too) Zoot are these:

These materials were released as a bootleg (Boris Rose's Ozone 19), but I didn't know the actual video (originally WNET NYC) footage survived. Nice!

RIP. For some reason, they used Fly With The Wind...I found amusing. Gilbert also seemed to fond of it, too.

I think Richard Davis once said that actually the Dolphy/Little/Waldron/Davis/Blackwell quintet did another gig at some university, but poorly attended and got no offer hereafter. Is he still with us?

A cafe nearby my home (not Jazz Kissa or private management, a national chain)'s BGM is mainly Jazz, and plays Herbie Nichols quite often. I sometimes wonder what Herbie would think if he knew that his music was being played in a cafe in the Far East 60 years after his death.

Bud Powell played a tune entitled "No Name Blues" in A Portrait of Thelonious Monk. This tune is supposed to be written by Earl Bostic, but Bostic's "No Name Blues" seems to be completely different one. Does anyone know the real name (or credit) of this tune? I guess it is really a tune written on the spot by Bud...

Thorbjorn Sjogren's Long Tall Dexter listed three more gigs in 1983: Jan. 21, 1983, "Teatro Turismo", Riccione, Italy (radio broadcast) Feb. 2, 1983, "Jazzhus Montmartre", Copenhagen, Denmark (TV and private tapes) (Feb. 27, 1983, "Village Vanguard" Birthday live) Summer, 1983, "Paul Masson's Vineyard", Saratoga, CA (Spanish TV) And one from 1984: Jul. 18, 1984, Venue unknown, Burghausen, Germany (radio broadcast)

I have not read Hampton Hawes' autobiography, but from memory I think somebody said it was supposed to be the end of I Can't Get Started. It was certainly an out-of-tune ending to hear, and it would not be surprising if Sonny Clark, who was supposed to be a spectator, played it. But it wouldn't be strange if Hawes came back from the bathroom after running "errands" and rushed to play it. Is there any conversation audio recorded in the studio? BTW, I really like Mingus Three -- while many of the songs are mediocre, I think "Dizzy Moods" is a small masterpiece. Hamp really "blows" melancholically.

I thought Lester Young was lackluster in his later years, but this is quite good.

New Charles Stepney! Thanks for heads up. There are so many music Charles Stepney was involved, but personally Eddie Harris's Plug Me In is the best. Stepney's imagination is unfathomable.

A good one. I think Jimmy Forrest is terribly underrated. This is my favorite Forrest. It's interesting that Forrest rarely played "Night Train" live except this...

Do you mean this folks? https://en.thelostrecordings.store/ I have the CD version of Live in Rotterdam 1967 / Thelonious Monk and was not bad. I'm not sure whether it's legally white / gray / black or whatever...

This clip is the same tune by almost the same band (plus Joe Henderson) from the same period. Looks promising! Woody's recording "with a local rhythm section and playing standards" in 1987 reminds me of In My Own Sweet Way. I think it's quite okay, one of my favorites, but I understand Woody's life was already going downhill at that time and his playing also..Also, Bemsha Swing (1986) is not talked about much, but I think that one is quite good too. I found this clip from 1987, and Woody seems to be still in his prime...

Live at Jazzbed is a recording from a live date on Sep. 27,1970, so roughly 3 month after Kaitaiteki Kohkan. Both Live at Jazzbed and Station '70 are made from old cassette tapes recently discovered in Takayanagi's study.

I think the last album that Freddie Hubbard could really play was The Eternal Triangle (1987). After that, his tone became scruffy due to a lip ailment or something. Live at Fat Tuesday's (1991) is not bad, but it does not hide his decline.

I think the wildest of Wild Bill Davis is Doin' His Thing (1969, RCA). Funky organ, nasty sax & flute, Jymie Merritt on bass and (on some tunes) Pretty Purdie on Drums...you can find it on Spotify. "Generator" is the funkiest. It's a little known gem.

Terumasa Hino wrote film music for 1970's film "Hakuchu No Shugeki" (The raid in daylight) For those of you who are interested in 1960s Japanese popular music (and Jazz/R&B), this might be a very interesting oddity. It's officially "unissued", but it WAS actually issued in Japan.

I think the Debut box includes some recordings Mingus prepared for Shadows -- "Nostalgia In Times Square", "Alice's Wonderland", "Self-Portrait In Three Colours" and an untitled percussion ramblings with flute. The last one sounds like an early Sun Ra. Mingus might be a terrific film score composer, but I guess he would have serious issues to meet deadlines... Although it has already been completed, Bosch on Amazon Prime made good use of jazz, probably because the original author, Michael Connelly, is a jazz fan. I think it would have been good to use the Mingus music in this kind of noir detective drama with Titus Welliver as the main character. I think there was a scene that a young black detective listens to the music playing in Bosch's car and says, "I like this. Who is this?" then Bosch (middle-aged white) said, "It's a guy named Sonny Rollins," which made me laugh quite a bit.