mhatta

CD shops are an endangered species even in Tokyo, but Disk Union is still around. Their JazzTOKYO store in Ochanomizu specializes in jazz, but other stores also have secondhand jazz CDs in stock. If you register on their website, you can search for all of their stock online, but it may be difficult if you can't read Japanese. Do you have anything in particular that you're looking for? https://diskunion-jazztokyo.blog.jp/ If your companion isn't really into jazz, it's probably best to avoid hardcore live music venues, but places like Blue Note Place in Ebisu and Brooklyn Parlor in Shinjuku have a variety of food & drink options, and they're also run by the same company as Blue Note Tokyo, so they sometimes have live music too. https://www.bluenoteplace.jp/ https://www.brooklynparlor.co.jp/ Even at Jazz Kissa (cafes), where talking is prohibited during the day, you can talk at night. I sometimes go to Eagle in Yotsuya, which has recently seen an increase in overseas customers. They have nice cheesecakes and strong coffee, and good huge JBL audio system. http://www.jazz-eagle.com/index.html If there is a particular artist you want to see and you want to go to a small live house, you should search for this site. https://www.tokyogigguide.com/en/ Tokyo is a huge city with a huge number of live music venues scattered all over the place, so it's difficult to go from venue to venue (I miss NYC). It's better to plan in advance. I can't drink alcohol, so I don't really know about whiskey. I heard that Tokyo Whiskey LIbrary in Minami-Aoyama has over 1300 types of whisky. https://tokyo-whisky-library.com/ Transportation -- public transportation such as train/subway or buses(maybe a bit tricky for foreigners) are good, and these days sometimes you can use Uber, and there is an app called Go. https://go.goinc.jp/lp/inbound Enjoy your stay!

I think there are alternate takes of "King Korn" and "Around Again" from these sessions. Why didn't they issue it?

Jo Jones Trio with Bryant brothers, Sir Charles Thompson, Mel Powell's "Thigamagig", Braff/Larkins Duos...I love these recordings, but for me the sound quality is okay, so I'm not sure whether to buy it or not. Is there a clear improvement in sound quality?

This is not just about jazz or music, but I found this Substack I read recently interesting. https://leighstein.substack.com/p/woes-hollow?publication_id=1994560&post_id=157743804 If you don't perform where someone is actually paying attention, you won't make any money. In the past, it might have been good reviews on Downbeat or appearances on late night TV shows, but now it's probably TikTok or Substack. Publishing CDs doesn't matter much. Ted Gioia became the world's most famous (music) critic thanks to Substack.

I'm not sure what you mean "bebop piano", anyway how about this:

Not to question the judgement of Alfred Lion or Michael Cuscuna, but I honestly believe that many of the "rejected" tracks are worth listening to. Maybe a bit rough, but some of the individual solos could be great, especially now that most of the people involved have passed away. As for the rejected items from the same period, i.e. around 1960, including more Jackie McLean -- "Jackie's Bag" has two rejected items (maybe not good) and "Swing, Swang, Swingin'" has one (Tune Up). more Art Blakey -- there are some rejected items, and the originally rejected and recently released "Just Coolin'" was okay. more Horace Silver -- "Blowin' The Blues Away" has one rejected track, "Repetition". more Kenny Burrell -- A quartet recording is rejected, Kenny with Tommy Flanagan, George Duvivier and Elvin Jones! more Jimmy Smith -- "Home Cookin'" has a rejected item, may contain an unheard Percy France solo. more Sonny Red -- one rejected session contains Hank Jones on piano, something of a rarity in the BN roaster. mysterious Leon Eason -- only issued as a single 45s. and tons of Three Sounds rejects -- well, they might not be much different from the master takes... etc.

I've only heard Luis Rivera on Battle Of The Organs, but to be honest it sounded quite cheesy. Anywise, I'm interested in these two albums.

Sjogren's discography Long Tall Dexter does not list any session on 20 November 1972. There is a broadcast recording from 2 April 1973 at the same place and with the same members, although the track listing is unknown, so it may be this one. Dex doesn't often play All The Things You Are as it is, I think he prefers playing his contrafact, Boston Bernie.

You can listen to one song, Blues For Les, as a teaser (it seems to be the set closer), and although it's short, it was a moving performance. I wonder if you have to live a life like that to be able to play such deep blues. In any case, I'm looking forward to it.

I am also interested in Keno Duke. I think he was not a superduper drummer, so it makes some sense that music was his sideline and his main job was being a cop (like bassist Gary Mapp), but I regard him highly for his Walter Bolden-quality song writing ability and running a nice jazz label: Trident. His photo is on the back of the jacket of 1975's Crest Of The Wave (Trident), but for me he doesn't look like in his fifties and looks about 3-40 years old -- he often worked with Frank Strozier, George Coleman and Harold Mabern, so I'd guess he's a bit like them, might be born in the late 1930s or so. He may be from Memphis, Tennessee, like them, or maybe even Chicago. The last release from Trident was in 1982(Benny Powell's LP, Duke not present), so he might be dead around that time.

Claude Schlouch was not only an authority on Kenny Dorham, but also Bud Powell. RIP. That aside, it seems that the mystery of the mysterious drummer ‘Hersh’ Charles has been solved. It's true that Denis and Hersh look almost indistinguishable when you look at some messy handwriting...

Thanks for info! Do you have any more information such as what song were or how many songs performed, etc.

I am currently updating my Jazzdisco page because I am fascinated by Ornette Coleman's performances especially from 1965 to 1966. If you know anything about sources that I don't know about, I would be grateful if you could tell me (rumor level is okay). https://www.jazzdisco.org/ornette-coleman/discography/#650615

Agharta and Pangaea are great, but a bootleg known as "Another Unity" (from Jan. 22, 1975) is even better. And music from the 1973 tour is also teriffic. I really hope they release someday something like "Miles Davis Bootleg Series Vol. 9: Japan Tours 1973/1975".

I went to Harvard Business School for work two month ago, and it seems that Scullers is nearby. It's a shame that our schedules didn't match up. I only knew about the Regattabar as a jazz club in Boston.

Norio Maeda went on to become a successful composer and arranger in Japan, but at least at this point, I think his swinging sense of rhythm was lacking, despite his excellent harmony. The trumpeter was probably a different person from the famous drummer Rashid Ali (although Ali was said to be able to play trumpet and piano). According to some information, this guy was called Rashid Kmal (sic) Ali. Could this be the person? https://www.findagrave.com/memorial/269675/rashid-kamal-ali There is a possibility that he served in the Korean War and stayed in Japan for a while. He seems to be a substitute for Don Cherry and apparently fired from the tour.

Sense of Values! Keno Duke is criminally underrated. I have very little information about him, but what kind of life did he lead?

Michael Cuscuna was not selected for the NEA Jazz Masters after all (even though he had been fighting an illness for several years and did not suddenly pass away). I am very surprised. I hope that a proper biography will be written, including Cuscuna's work outside of jazz (such as producing Bonnie Raitt, which I liked). I feel that only Cuscuna himself could have written such a book.

Just for fun, I tried having Claude AI output a review of the best jazz album of 2023 (because the current data cutoff is Apr. 2024, so AI doesn't know much about this year). The personality (or lack of personality) is similar to reviews on Bandcamp, etc. ----- "The Territory" by Mary Halvorson A masterful display of avant-garde jazz guitar, this album showcases Halvorson's unique approach to composition and improvisation. Her signature bent notes and complex rhythmic structures are woven into compositions that manage to be both challenging and surprisingly accessible. The interplay between Halvorson's guitar and the horn section creates fascinating textural landscapes, particularly on standout tracks like "Incarnadine" and "Motion Picture." "In Common 4" by Walter Smith III & Matthew Stevens This collaboration brought together an exceptional lineup including Kris Davis, Dave Holland, and Terri Lyne Carrington. The album strikes a perfect balance between structured composition and free improvisation. The quintet's interpretation of space and timing is remarkable, especially in pieces like "Familiar Signs" where the musicians demonstrate their ability to both lead and support with equal skill. "Today and Tomorrow" by Lakecia Benjamin A powerful statement from the alto saxophonist, this album bridges traditional jazz with contemporary influences. Benjamin's fierce, soulful playing is backed by an all-star band including Ron Carter and Patrice Rushen. The album particularly shines on "Amerikkan Skin," where Benjamin's passionate saxophone work addresses social justice themes while maintaining musical excellence. "Live at the Detroit Jazz Festival" by Wayne Shorter & Terri Lyne Carrington One of Wayne Shorter's final recordings, this live album captures the legendary saxophonist in brilliant form alongside Carrington, Leo Genovese, and esperanza spalding. The performances are both exploratory and deeply emotional, especially on the extended version of "Endangered Species." This recording serves as both a celebration of Shorter's legacy and a testament to his continued innovation until the end. "Phoenix" by Melissa Aldana The Chilean saxophonist delivered a compelling album that showcases her evolution as a composer and bandleader. Her tenor saxophone tone is warm and commanding, while her compositions demonstrate sophisticated harmonic understanding. The album's centerpiece "The Bluest Eye" is particularly notable for its narrative arc and emotional depth.

I like some of them (e.g. Patricia Brennan Septet's Breaking Stretch is good, but mainly because of Mark Shim's gritty tenor), but I still don't think they're the kind of “jazz” I like. It's good music based on different aesthetics. I guess I'm getting old and I'm starting to lose touch with the younger generation's sensibilities. Being an old fart is sad.

I heard it on Spotify. It sounds just fine. But I'm not really an audiophile, though...

Dave Liebman is a great musician who deserves A LOT respect, and he is Miles Davis' possibly second-to-best saxophonist, but I personally have never been into his music. His partner, Richie Beirach, is similar I feel. I don't really know why. I think this is their best performance.

I listened to the whole thing. Overall, I think it's a DeJohnette show. The drums have tremendous drive. Henderson is also great, especially on the first song. McCoy seems a bit overwhelmed. The bass isn't really audible.

I listen to it via Apple Music streaming, I can hear bass. But somewhat muffled. It reminds me of Dexter Gordon's "The Squirrel".

https://bsky.app/profile/mhatta.bsky.social I gave up on X/Twitter because it was too toxic. It's not a bug, it's a feature. I usually write in Japanese (and in many cases about my day job), but I'm also using Bluesky. I also write about jazz sometimes. If you comment in English, I'll reply in English.