mhatta

I'm not sure how to define Third Stream (I know Schuller's "What Third Stream Is Not"), so I'll just say that it's kind of "classical" austere feeling. Andrew Hill's with strings session is good, and Eric Dolphy's Out There sounds like it too. How about Ken NcIntyre? It's almost forgotten, but I like his output on United Artists.

Dizzy Gillespie recorded 2 tunes, "Dynamo A" and "Dynamo B", for Dial in Feb. 5, 1946. Actually, both are 2 takes of what we know now as "Dizzy Atmosphere". On a radio broadcast from Band Box in Mar. 30, 1953, asked by Leonard Feather, Charlie Parker explained like "It(Dynamo A) wasn't 'Dizzy Atmosphere'. It's not the same record at all. This is a thing they recorded in Los Angeles quite a few years ago, it's a satire of the tune 'Lover'..." and played what we know now as "Diggin' Diz" as an example of "Dynamo A" (unfortunately he didn't play "Dynamo B"!). So I guess Bird thought "Diggin' Diz" was the real "Dynamo A". Then, I wonder what was the real "Dynamo B". The Feb. 5, 1946 session produced 8 tunes -- "Confirmation", "Diggin' Diz", "Dynamo A & B" (2 takes of "Dizzy Atmosphere"), 2 takes of "When I grow Too Old To Dream" and 2 takes of "'Round Midnight". So my best guess is "Dynamo B" was actually the working title of "Confirmation". How do you think? Is there any other recording of "Dynamo B"?

"Another Story" was reissued as CD in Japan some years ago and I immediately loved it. The half of "Easy Walker" also comes from the same period (McCoy Tyner on piano) and very good too.

I sometimes find Don Byers after the 60's uncomfortable in terms of harmony and rhythmic groove (I don't think he was a "modern" jazz player after all), but Anthropology and a show at Nalen unearthed a few years ago were pretty good.

I noticed that Albert Stinson (1944-1969) was only 22 years old when he appeared in Oblique. And he's going to die in two years. A precocious genius.

I guess Billie's Bounce was played quite often during this period, and tenor/trumpet quintets were also quite common, so I have no clue. If the information about the venue is correct, it might be from WABC "Portraits In Jazz" radio broadcasts hosted by Alan Grant. I have also no clue the whereabout of his acetates he made during this period.

RIP. Mark Levine played trombone on Houston Person's debut "Underground Soul!". The organ is played by a mysterious organist "Charles Boston". I suspect that this is actually the nom de plume of Levine (he attended Boston University, there is Charles River...) and organ or trombone might have been overdubbed (since trombone and organ sometimes sounds simultaneously). I'm not sure such was technically possible in 1966.

I believe Mr. Griffin implied that double meaning. He had acute senses of linguistics and humor. I love one of his tunes "The JAMFs are coming" and when someone asked what JAMF is , JG replied "Oh, that means Just A Mere Friend". Obviously, it really is Jive Ass Mother F...

Hmm, there was a nice obit but now seems gone.

I didn't know "Omicron" is a Donald Byrd tune. For some reason Bud Powell played it with Barney Wilen (sans Byrd).

By some googling... BTW, I am not so sure that Dick is Dick Gibson. Some other possibilities are: Dick LaPalm https://www.jazzwax.com/2013/10/dick-lapalm-1927-2013.html Dick Buckley https://www.chicagotribune.com/entertainment/ct-xpm-2010-07-22-ct-met-0723-dick-buckley-obit-20100722-story.html Now I tend to think it might be Dick Buckley.

RIP. I know Paolo Piangiarelli and his Philology label, but didn't know much about the man himself. Very interesting life indeed. https://www.italy24news.com/entertainment/news/120669.html Bird's Eyes, Prez's Hats, Brownie's Eyes, Unissued Chet...their edits are usually sloppy and quite dubious about recording info & copyright, but always important and interesting. An aspect of Jazz has gone.

I have no proof, but it might be him. https://www.nytimes.com/1998/06/20/arts/dick-gibson-jazz-producer-and-fan-72.html

I once listened to a bootleg on which Sonny Rollins plays "Four" with Kenny Drew, NHOP and Al Tootie Heath (I guess at Cafe Montmartre) for about an hour. He blows a chorus after chorus and it was gorgeous.

For me, Thelonious Monk's so-called "Meet Me Tonight In Dreamland". I don't know what the real title of this song is, but I think it's an appropriate title.

For some reason Randy Weston made an album on CTI. Interestingly, it is not so bad...

I personally like Oscar Peterson during this period, the 80's, but I think he is neglected. His technique was still steady (I think it started to decline after this) and his compositional abilities were at their peak. Joe Pass as well as the two guys in the rhythm section are great.

I might be wrong, but I think it is not from a legit Japanese company even if it has Obi in Japanese. The design of this one from a Stone Ash Records (of which I've never heard) is dubiously similar to this one from a Dark Purple Records or this one from a Jazz Summit Records.

Joe Turner the pianist seems to have made an album for Pablo -- Another Epoch Stride Piano (1976). Not reissued as CD ever since.. https://www.discogs.com/ja/master/481982-Joe-Turner-Another-Epoch-Stride-Piano It is interesting that they a bit look similar -- and both are big men, too.

I love Big Joe Turner's outputs on Pablo. I admit that they are basically from his declining years, no producing/planning, just loose sloppy bunch of jams, but somehow feel very good. My personal favorite is Life Ain't Easy. Roy Eldridge's outburst is well worth the price of admission IMHO.

Oh, I didn't know NRK is a Norwegian TV. I stand corrected.

I think it comes from live at Theatre National de Paris, October 28th, 1970. The first tune is In A Sentimental Mood, not All To Soon. It was issued as various LP/CDs, but I didn't know video footage survived.

It is difficult to explain in words, but I think that the handling of rhythm has always been a difficulty in Japanese jazz. I may be biased. I personally like the rhythms of American black jazz, which are based on afterbeats and have a natural, somewhat loose groove. I think Japanese (and European) jazz musicians have not been able to digest it well, at least until relatively recently. As a result, the rhythms tended to be stiff or "overly" precise. It's not that their musicianship was inferior. It's just that there was (is) something uncomfortable about it for stubborn jazz listeners like me. This was especially a problem with the orthodox hard bop-based style, which tended to be the case with the people featured in J-Jazz, who were mainly active in Japan. The people who were active internationally had developed more individuality than that, but they were still different in some way. Or, I think they approached free jazz because of that.

It seems that Alec Wilder did write a tune entitled "Lady Sings The Blues" in 1956. https://www.songhall.org/profile/Alec_Wilder

Good article. I can't help but feel uncomfortable with the rhythmic aspects of Japanese jazz, but I wonder if people overseas find it exotic and appealing in the opposite way. I feel that both European and Japanese musicians approached free jazz in order to solve the rhythm conundrum.