mhatta

Bheki Mseleku was a great pianist I admire (he also could play good sax and guitar), but I think he style was more "mainstream" than South-African flavored. My personal favorite is Beauty of Sunrise (Polygram, 1997), but couldn't find it on YouTube, so... When I was young I enjoyed Zacks Nkosi's A Tribute To Zacks Nkosi (1975) since a British radio DJ in Japan recommended it on his program. Not so thrilling or "jazzy", but have a good, relaxed African vibrations.

JM's New York Calling is a hidden gem. I also like his (possibly only) album as leader - When Destiny Calls (1975, SteepleChase). Information on Gault is scarce (I remember that SteepleChase CD doesn't come with liner notes), but seems he was active as pianist/educator at least till 2012: https://www.tunxis.edu/news/tunxis-events-scheduled-for-march-and-april/ "Khalim Zarif, an internationally-known jazz pianist who performed as a younger man under the name Billy Gault, has performed with jazz legend and educator Jackie McClean, among others. " So he seems converted to Islam and worked as Khalim Zarif.

Sadik Hakim made lots of albums after his "comeback" in 70s, but I think most of them had sidemen not up to his caliber. I guess the best of the bunch is Witches, Goblins, Etc. (SteepleChase). It had Al Foster on drums and also "Witches" might be his best composition.

It is interesting that Carl Wilson, the organ player, seems almost exclusively played with Willis Jackson and nobody else. Did he retire after the Gator's death? https://www.discogs.com/ja/artist/477102-Carl-Wilson-2?type=Credits&filter_anv=0

You guys solved my long-standing mystery! Thanks! It seems that the real title of this tune is "You Want Me To Stop" and the lead sheets is still in Walter Davis, Jr.'s archive. https://www.worldcat.org/title/lead-sheets-unpublished-copyright-deposits-1964-1977/oclc/271073204 There also seems to be a tune entitled "Sister Mayme"! I guess these two were close at that period. I don't know how Library of Congress works (and I live in Japan anyway), could somebody in DC area check the availability of that documents? ;-)

"Joe Henderson in Japan" was recorded at the obscure "Junk Club" in Ginza, Tokyo. I heard that It was run by a Chinese gentleman, closed in ca. 1985, but one of its former employee opened another club, "Swing".

According to Peter Losin, Miles played at the Plugged Nickel again in 1969 and somebody recorded it. I vaguely remember that Bob Belden released some recordings ("Milestones"?) from that gig on the Net, for whatever reason. And now, as usual, available on YouTube...

For me, the most surprising thing so far on this recording is Carlos Garnett. He was on fire (especially on the last 2 tunes). I unjustly considered Carlos was not a player on par with Woody Shaw, but I was wrong and I gladly stand corrected.

For me, these sessions are summarized into this one tune. I heard this originally on a BN compilation called "The Lost Grooves". I think it was from the very last session Alfred Lion personally directed. BTW, Is this really written by that Wild Bill Davis? Is there his own recordings? It sounds very much modern. Anywise, I say this is hardboiled bitter sweetness embodied.

Hank Jones toured Japan in 1979. As far as I know, this is the only time Hank worked with George Duvivier and Shelly Manne. There was one live album (originally titled Live in Japan) at the time, and now there is another album of the remaining recordings, both of which are very good. I think they are more imaginative than the famous Great Jazz Trio with Tony Williams and Ron Carter.

Wow, I didn't know about this one (and seems it has not been reissued as CD or on streaming yet...). Very good. I love Ernie Watts' works on Charlie Haden's Quartet West. Also a kind of novelty thing, Ernie dueled with one Bruce Eskovitz on Tenor Madness. It's one of my favorites, very swinging and really fun.

I could get Dodo Marmarosa 2CDs, but missed Chubby Jackson and BIllie Holiday live ones. Both can be obtained as Amazon MP3s, but all I want is their booklets...

It is a pity that Dr. Billy Tylor's works as a Jazz pianist tend to be overlooked since he was well known for his works on Jazz education and broadcasting. He could be a very gutsy pianist. His version of "Sunny" is still my favorite one. .

I love Jazz with wordless vocal choruses in 70's -- well, I love 50/60's stuff too, but 70's ones sounds to me more sophisticated and adventurous. One example that comes to my mind is Communications '72 by Stan Getz & Michel Legrand. Another example is Love Songs by Mike Westbrook Concert Band. And the Singers Unlimited is, of course, very good...

I don't know so much about Swedish jazz scene of 60's, but Bengt Hallberg is one of my favorite pianists. He also played with Stan Getz:

One interesting figure from Japanese modern/progressive Jazz scene after the WWII is Masayuki Takayanagi (1932-1991). He was an extremely versatile guitarist, studied the music of Tristano/Konitz deeply, and even played bossa nova/tango a la Piazzolla. His conventional works remind me of Rene Thomas. However, he became more interested in free improvisation in the late 60's. April is the Cruellest Month is a free form masterpiece, originally planned to be released on ESP, but ESP went out of business...Also, his solo guitar works remind me of Mary Halvorson. I guess you might know Takayanagi through works with Kaoru Abe. My personal favorite is La Grima from 1971. It was played live before angry left-wing (and snobby) college students, and the group was not really welcomed. They delivered stunning performance anyway, but somehow greeted with chants "Ka-e-re! (go home! go home!)" You can hear that at the last moment. I think this is a minor miracle.

Seems Mr. King is a retired engineer & jazz enthusiast or something, and I enjoyed it. It reminds me of JazzWax. His personal recollection on Frank Morgan is most interesting.

I think all of Wallington's outputs in 50's are excellent. It's pity that he retired early. He had a phenomenal technique, but for me he had some problem to adapt complex rhythms. I guess that was one of the reason he decided to retire. There is an another CD called " The Pleasure Of A Jazz Inspiration" recorded after his "comeback" (and I guess it was released posthumously). It's little known, but I think this is the best of the bunch. On alternate takes of "At Cafe Bohemia", they are certainly nice additions, but for me they are not up to the original ones. The original takes are small miracles.

I heard that at some point in early 70's, some Japanese record company (Teichiku?) tried to reissue "At Cafe Bohemia" in Japan and contacted Gus Grant (aka Gus Statiras). Gus sent them a master tape, but somehow it contained alternates, not original takes. So there is a version of "At Cafe Bohemia" LP, a 1976 Japanese pressing with a wine red jacket (I suppose the original was purple), features alternate takes.

I'm interested in your opinions on Miles Davis' "Sorcerer". As you might know, this is basically a instrumental album, but for some reason it contains a tune called "Nothing Like You" sung by Bob Dorough. Almost all of my friends hate it -- yes, it is completely out of sync by any means. But I secretly admire its presence. For me, it is a nice change of pace for mostly abstract, experimental (as of 1967) music. How do you think?

Yeah, I heartily agree that there are several goodies from this period. Especially your mentioned "Essen Jazz Festival" (features one of the best rendition of "All The Things You Are"). But I tend to think Bud's technical facility was never recovered back to the level of his younger days (like the days of "Tempus Fugit" or "Un Poco Loco"). Oftentimes his playing is still inspired, but pianistic execution is muddy at best and sometimes he didn't even remember the chord progression of his own compositions. I love deep, melancholic Bud of later years, but I can't say it's comparable with his brilliant earlier works. However, for some reason, sometimes, his technique is largely back in 1962. Not perfect, but still very good execution and the coherent flow of brilliant ideas. Like this:

Nice article. I am glad it mentioned "The Free Slave" as well as "Understanding" -- I think it is an unsung masterpiece. I hope "Understanding" would regenerate the interest on other Brooks' works.

I have 2 reissues of "The Hub of Hubbard", one is a Japanese CD from early 90's and the another is from 2009. The latter has "Muses" as a bonus track. It's the same tune Dolphy recorded, and this time played as trumpet/bass duo by Hubbard and Davis. I suspect it's the same take issued in Davis' own MPS album (recorded on the same day), but I'm not sure. Not bad, but very subdued and a bit boring. "The Hub of Hubbard" is a lively album, but I always think something wrong with Louis Hayes then. His time keeping was messed up. "Without a Song: Live In Europe 1969" features the same band and I think it's better. Or w.r.t Hubbard's MPS output, "Rollin'" is a little known gem.

That one has been a favorite of Japanese Jazz fans for ages. Thinly disguised "Jay Mac's Crib" is nice, but I really like very boppish theme of "Sweet Blanche". I hope somebody covers it.

Herbie Steward recorded 2 discs for the Marshmallow label in his closing years. Both are good -- one with Gene DiNovi, another with Sir Charles Thompson (and recorded on live!).