Shrdlu

My comment stands. I know everything you wrote.

Yes, thanks for pointing this gem out. Kenny does such a fine job with just a minimalist kit. It reminds me of Jo Jones at the Columbia jam sessions led by Buck Clayton. "Rock" drummers, take note. Ah, "Disorder At The Border".

John McLaughlin, who moved to America at the same time as Dave Holland.

I find the Riverside recordings of Trane with Monk rather ragged and disappointing, apart from the three quartet tracks and "Monk's Mood" from the solo session. Bob Weinstock will go down as the man who prevented a pile of quartet recordings of Trane with Monk in 1957 when it was happening, and hindered Miles's transfer to Columbia. Surely they could have paid the dude to back off. He was the opposite of Alfred Lion, who was concerned with documenting important musicians.

Members of my family have used the Costco setup with success. They have an optometrist and can send off to have the lenses made (of course). As I said, my saxophone mentor was an optometrist for decades. An optometrist is all you need for a presciption, unless you have some kind of eye disease. To use an worn-out expression, it isn't rocket science. There are four measurements for each eye: sphere, cylinder, axis and distance between the pupils. That's it. I think that some of you are worrying unnecessarily.

Where in New Brunswick? I lived in Sackville from 1978 through 1981. I was a Math professor at Mt Allison University. The K Zildjians are superior to the As. Our favorite drummers in the 50s and 60s used Ks made in Istanbul. They are the best ever cymbals. They would be worth a fortune today, but most will have been bashed to death. In the article, a lot of the drummers had their ride(s) converted to sizzles: that is, holes were drilled in them and loose rivets were inserted. I would be scared to do that to my Istanbul Agop and K Constantinople rides, in case it ruined them.

1975 is the last date of which I am aware. It is known that Duke put out the twofer of Stanley Turrentine's 1967 sessions with a medium-size group. Anyway, I am a big fan of Duke. His arrangements were excellent, and I like his Brasilian Blue Note sessions.

You gotta be kidding.

There is only one Zildjian company. It has a proud tradition, going back to its founder, Avedis Zildjian. He was woking for the Sultan of Turkey, and made his first cymbal in 1618. Eventually, the Sultan gave Avedis permission to leave the palace and start his own company. They began in Constantinople and stayed there for a long time. They are now headquartered in Norwell, MA. Descendants of Avedis still own and run the company. (This is a very truncated history.) Sabian was developed by Robert Zildjian after a family/legal dispute. By the way, here are the Istanbul Agop 30th Anniversary items, theoretically limited editions, but not hard to get. There are videos demonstrating them. https://istanbulcymbals.com/products.html You don't wanna know what they cost. (gasp) I would like to hear their 24" and 26" rides, but I can't afford them. The other sizes of hats would be worth hearing, too.

Thanks, Tom. That is a worthy collection. I'm trying to put together the contents of these two Pearson sessions Duke Pearson Group Burt Collins (tp), Al Gibbons (fl), Jerry Dodgion (as), Frank Foster (ts), Bobby Hutcherson (vbs), Duke Pearson (p, el. p), Al Gafa (g), Bob Cranshaw (b), Mickey Roker (d), Airto Moreira (perc., voc), Stella Mars (voc). A&R Studios, NYC, October 3, 1969 5220-5 Once I Loved (O Amor Em Paz) (5:20) 5221-5 Xibaba (6:32) 5222-2 Is That So? unissued Duke Pearson Group Burt Collins (tp), Al Gibbons (fl), Jerry Dodgion (as), Lew Tabackin (ts), Bobby Hutcherson (vbs), Duke Pearson (el. p), Ralph Towner (g), Wally Richardson (elec. g), Bob Cranshaw (b), Mickey Roker (d), Airto Moreira (perc). A&R Studios, NYC, November 21, 1969 5565-7 Come On Over, My Love unissued 5566-9 Dialogo (3:37) 5567-1 Captain Bacardi (5:44) 5568-5 I Don't Know (6:57) Those two sessions were obviously intended to make up an LP, but the material was forgotten. I don't like the title of the 2-LP set, and I didn't like it when the CD came out in the 90s. The title track does not typify the material, and is rather lightweight. The CD contains material not available until its release. "Xibaba" and "I Don't Know" are real cookers.

I am surprised that Mosaic would allow its material to be heard on Spotify. Do they have the Duke Pearson "Mosaic Select"? That has one rare track that hasn't appeared anyplace else. (Dialogo)

Very nice performance. Love la musica latina. The alto saxophone guy is excellent. Giovanni Hidalgo is on congas. He's playing his signature "Palladium" tumbas by Latin Percussion. I have their "Galaxy" tumbas, also a Giovanni signature range, with the same color but no hoops. The Palladium range offers the fairly rare super tumbadora size, but lacks the requinto, at the other end. That piece is on Lee Morgan's superb "Cornbread" album, which has a dream lineup. Thanks for posting.

That is a superb article. Thanks for posting it. I was surprised at some of the setups. E.g., Max having hihat cymbals of different sizes. One or two guys had setups that surprised me. Re the layout, you put all the parts wherever is comfortable for you. The average right-handed drummer, from bop onward, would have 14" hats for the left foot, a crash a bit to the left of the snare, and a ride on the right, over the tom(s). It works well to have the ride and snare a bit above the tubs. Zildjian is still going strong. Back in the days of the drummers in that article, they were made in Istanbul. Those were the best cymbals. Then, they moved to the States, and although their cymbals are still good, they aren't as good as the Turkish ones. Their K Constantinople rides are the best: I have four of them. A factory continued in Istanbul, run by a guy called Agop. They brought out a range called Istanbul Agop 30th Anniversary. Those are the best today. I have their 14" hats, an 18" crash and a 22" ride. When those hats arrived, I ached for Jo Jones to hear them. They are so rich that they are an orchestra unto themselves.

That is a superb album. The U.S. CD of it (billed as having "Atlantic Original Sound") is awful. Avoid. The Japanese CD is good, and makes the music come alive. I never had the LP, but the Atlantic studio had bad sound - if only Trane's 1959-1960 recordings had been recorded by Rudy.

I don't see how it can be maintained that the Japanese CD reissues are inferior to recent vinyl reissues. Those CDs sound great. You would need laboratory equipment to distinguish between them and LP counterparts. I have no plan to chase after recent LPs.

I remember all the excitement when stereo LPs first became available. But, for a quintet, say, mono will do. Who now cares if the tenor saxophone is on the left and the trumpet is on the right? Big deal. If you were listening to them live, it would be mono.

A video of this event has been available online for many years. Great lineup. It's unsatisfying, in that there are (as Charlie Mingus would have said) "too many friends" all lining up for their one brief solo chorus. A bit of a circus, really. I just read an interview with Teddy Wilson in which he said that he didn't care for concerts. But, it is an enjoyable curiosity.

Movies had stereo sound long before 1964, so I assume that this Trane session was recorded by Rudy in stereo. It is doubtful that only a mono recording was made. It is annoying that Universal is issuing their unissued Trane material so painfully slowly. We know that there is more (e.g. from the Johnny Hartman session). How long until the tapes are iron oxide dust and plastic ribbon?

What is this? "Jazz LP Record Collection 75 Bud Powell "The Genius of Bud Powell" LP record". Google Translate shed no light on this. It seems to be a book in Japanese. I looked at it in case it might be some of Bud's Verve recordings. I have all the Blue Note recordings. Flying Dutchman was mentioned. They issued Rabbit's last recording, which was arranged by Ollie Nelson. I didn't see that listed.

Her name was Mrs Scott.

It is clear to me what happened with the tapes for this session. Rudy would have recorded it on a stereo tape at 15 ips, and made a second tape (probably at 7.5 ips) in mono to be heard at home, as with the material issued in 2018. It could have been made in stereo, though. I had a Tandberg deck that took narrow tapes, but it did run at 15 ips, and it was stereo (four tracks on the tape, and bi-directional). Then, the stereo tape was discarded when all the Impulse session reels were tossed out in the mid 70s. Anyway, the sample track sounds great, as does the "new" music issued last year. 1964 Trane is prime material. I no longer play the screeching stuff recorded after McCoy and Elvin left.

Who knows? No doubt some ignorant worker at whatever music empire made that decision.

When they made up these sets, they could have used the definitive Blue Note Works masterings (no tracks that were not on the original LPs, of course). Actually, I have never heard a bad JRVG CD. Toward the end of that series, some bonus tracks were added. An outstanding example is The Three Sounds' "Out Of This World", which has a take of "I'll Be Around", called "Long Version", which is not available anywhere else. The JRVG CD also includes "Over The Rainbow" - I don't know if that pops up elsewhere.

It turns out that this is taken from a mono tape (7.5 ips, one wonders), as was the case with last year's 2 CD set. It seems odd that Rudy didn't record it on a proper tape in stereo. Horror of horrors: The vinyl version of the new album (which I won't be getting) was done by McMaster. I thought he had retired.

There is a sample track here, using the changes of "Out Of This World": https://www.rollingstone.com/music/music-news/john-coltrane-blue-world-new-album-1964-872242/