medjuck

I saw the quartet live once and was sitting on Elvin's side of the stage to boot. Couldn't hear Jimmy at all. (It was a club and I was sitting to the left of the band stand looking across it.)

I've never heard anything about Neil owning these. Here is what Rolling Stone has to say: The 20 reel-to-reel tapes that hold the entire sessions sat in the Woodstock home of the Band's Garth Hudson until about ten years ago, when he sold them to Canadian collector Jan Haust. Dylan's office cut a deal with Haust that allowed the tapes to finally come out officially. "They had deteriorated some and a few reels were missing," says a source close to the Dylan camp. "We had to find copies of a few on cassette and DATs." Through painstaking research, and a little guesswork, the songs are presented in roughly the order they were taped, though a series of half-completed or poorly recorded tracks reside on the final disc. The material has also been remastered and sounds infinitely better than even the best bootlegs. "Everything is coming out, besides four or five things that just sound like distortion," says the source. "We usually curate these packages more, but we knew the fans would be disappointed if we didn't put out absolutely everything." http://www.rollingstone.com/music/news/bob-dylan-complete-basement-tapes-bootlegs-released-november-20140826#ixzz3BWbqyMnJ http://www.laweekly.com/2007-11-22/music/bob-dylan-s-most-mysterious-recording/ "Among those rarefied few who heard the original recording was Neil Young, who, it turns out, possessed the most pristine and unadulterated copy of the so-called Basement Tapes, which he received from his longtime engineer Elliot Mazur. Mazur was assigned by Dylan’s manager, Albert Grossman, to transfer the original tapes for storage, and ended up dubbing a copy for himself. A few years later, Mazur duplicated them again with the intention of giving Young a copy, but accidentally gave him the original transfers, which sat in Young’s archives until they were unearthed a few years ago. With the song’s release on the fantastic I’m Not There soundtrack, those not exposed to the bootleg can finally attempt to discern meaning for themselves — if they dare." I think you and RollingStone are right. Reading this more closely this suggests that what Young got was the original dub but not the original master.

This is so weird. A couple of weeks ago I was listening to the soundtrack of" I'm Not There" and noticed how good the title song sounded (as compared to on the bootleg I had of The Basement Tapes) and decided to do some research on it. Somewhere on the web I found out that the original tapes had been given to Neil Young who had them in his archive. (He was supposed to get a copy, not the original.) That got me to thinking that they could release the whole thing, but I concluded "no, they'll never do that". Shows how smart I am.

Now that's funny (unlike the New Yorker piece).

This is Parlophone material. All Parlophone recordings, except for The Beatles, went to Warner as part of the sale of EMI to Universal. Other labels that went to Warner include Colpix and Roulette. So who got the Beatles recordings? (I tried to google this but never got an answer.)

Oh no! I worked on a film with him and Billy Crystal. It was a flop but, as my wife has often pointed out, it was worth it just to have had lunch with those guys every day and to drive to the set with them. I once asked them if they'd be as funny if none of us were around as an audience and they thought for a minute and said they'd keep it up even if they were only amusing each other. We were once shooting all night with a large group of extras and in the middle of the night when we were all flagging Robin jumped up and did 30 minutes of stand-up to keep us al awake. He was a good man.

Interesting that he chose to single out Wes Montgomery. When I heard him live some 50 years ago (on a double bill with Rahsaan Roland Kirk!) I thought he was the greatest improvisor I'd ever heard. (I, of course, can't really remember exactly what he played but nothing I've heard since has made me change my mind.) He was a great example of someone whose records did not capture his greatness.

I was at a function with Reiner last year and I told him that I'd been a fan for 60 years. He was very sweet and acted as if no-one had ever said that to him before. (I presume it happens every day.) What's amazing is that he can also play straight man for Mel Brooks.

Carl Reiner is da man!

Was it seller "avatarmusic"? I just ordered from them. Does anyone have the Strayhorn box set and is it worth getting? Yes. I can't seem to find them on the net without going through Amazon.

Loved this. Same here. I'm buying the duo CDs because of reading this and I never buy bass/piano duo CDs - plus I havn't bought a Keith Jarrett CD except older recordings since Deer Head Inn and I bought that when it was released. Steve, i highly recommend checking out some tracks on youtube or wherever first. I really like Jasmine, but i think people are getting a bit worked up about these records at the moment (not here). I haven't heard Last Dance, Jasmine is a fine album but i think it's definitely an album where mileage will vary. With the best possible intentions I highly suggest trying before buying, that is all. Here's a review favoring Last Dance over Jasmine that was written before Haden died . http://thebluemoment.com/2014/06/17/jarrett-haden-revisited/ Williams also wrote a nice piece after Haden's death: http://thebluemoment.com/2014/07/12/charlie-haden-1937-2014/

Got it today. About 10 days after ordering it. The notes begin by saying "The following three titles complete the broadcast of April 13" to which my immediate response was "So where's the rest of the broadcast?" Though the notes don't say so, a perusal of The New DESOR (The insanely well researched and nearly complete Ellington discography) leads me to believe that a couple of the Treasury Shows are no longer extant in their entirety. (Including it looks like, the very last show.)

IIRC The title "Will the Big Bands Ever Come Back" seemed mildly ironic in 1965.

Happy B'day Shawn!

Who's the rest of the rhythm section? I don't think Laurie names them on the download page.

This book is about the relationship of Orson Welles and Billie Holiday. It sort of tapers off near the end but the author really knows his stuff. (There are a few anachronisms: eg he has Paul Gonsalves with Ellington in the early '40s. ) Here's the review that led me to it. http://thebluemoment.com/2014/06/06/orson-welles-and-lady-day/#comments

Would love to see it! The rooms of Suprematism are outstanding - proper 'Shock of the New': like a cold shower that takes your breath away and refreshes (sweltering London similes alert) I really wanted to see that. Saw it advertised when I went to the Matisse cut-outs show but was leaving London before the Malevich opened.

Some of my favorite versions of old warhorses.

Happy Birthday young man. I hope it gets better as the day goes on.

OK but how do you get the location of just the image without everything around it. (As I said pretend I'm really stupid.)

The 1958 Newport set is in stereo. That's all of disc 9 and the last cut on disc 8. Is this mentioned in the notes and I just missed it? Ambassador Satch may have been the first jazz Lp I ever bought. Got it when it was first released so this set has a lot of nostalgia for me.

Amen, brother. Though Sonny is well represented in my collection.

I just discovered that Haden also plays stand-uo bass with a wah-wah pedal on one cut of Keith Jarrett's "Birth" Lp.

I found vol 18 on Amazon US by searching for it specifically. It was available from the UK for less than $20 including shipping. And I almost immediately got an e-mail from the vendor saying: NOTE: Please ignore the Amazon delivery estimate of 18-26 days – we upgrade shipping so orders arrive usually within 5-12 business days as stated on the listing (US/Canada/Europe/Japan only). I'll let you know how long it actually takes.

Things changed faster in those days. There seemed to be a new generation every 3 years.