medjuck

And Robertson collaborated with Gil Evans on The Color of Money soundtrack. Even used a left over orchestra riff on one of his own songs (twice).

Good article but I'm not sure that the analogy to songs from 1941 works. Nobody was listening to them even 40 years later but we still hear a lot of music from nearly 60 years ago. This article doesn't take into consideration the chasm caused by rock n'roll (and be-bop). Of course there could be another such chasm around the corner......

The names confuse the issue: e.g. I think Warner's Music has no connection to Warner Bros. films and Universal has none to Universal films.

Where are you?

Bob Dylan writes about this Lp in his (sort of) autobiography.

Pretty sure that's all there is.

Is the first sax solo on Fables Handy or Jordan?

IIRC He also had some connection to Don King/ Ali.

My guess is that Bill would have owned the "avant-garde" recordings and John/Bill the rest. Or maybe just John. An amazingly eclectic catalogue. I was fortunate enough to be present at a couple of the recordings.

Are the Sackville recordings still in print?

I'd still pick this one:

IIRC the only time I ever saw him was with Blakey nearly 60 years ago.

That's a pretty funny review and not unwarranted.

Me too. As I said elsewhere I think if they ship it within the next couple of weeks this will be the shortest time between an informal announcement of a set and it's actual shipping. (Well maybe it was faster in the earlier days.)

A few weeks ago I ordered a used cd via Amazon and later realised I already had it. It went into the USPS system and never came out. I used the Amazon site to inform the dealer who immediately refunded my money. It's better to be lucky than smart.

I make fun of myself by pointing out It was the first Dylan record I bought . I thought I was too hip to buy rock and roll or folk-- only jazz Lps for me. Not sure why I bought it but I liked it. Most of the Dylan Heads I knew didn't. (I knew several people who had been folkies and only got into rock when Dylan went electric. ) I bought every Dylan after that as soon as they came out until Slow Train. Blood on the Tracks really sealed the deal for me. I think the most underrated record is Street Legal.

It has, I believe, a pair of tracks not found elsewhere: the rehearsal (?) for Ebony Rhapsody parts one and two.

Just got this in an e-mail re: Armstrong and Henderson sets: "Due to Covid-19 protocols at the warehouse, collating and shipping the sets has slowed down. We have had a really strong response to the new Joe Henderson set and we expect to ship all the initial orders in 1 - 2 weeks. We sincerely apologize for the delay and appreciate your patience." OTOH even if the Henderson set doesn't ship for 2 weeks, isn't this the fastest ever time from announcement to shipping of a Mosaic set?

I thought it was really good with great performances. Apparently it was ignored at awards season because Carey Mulligan's people wanted to concentrate on "Promising Young Woman".

Ditto. (Though cover should mention "Record of the Week" or whatever that label was called.

I'm in for Clarence Shaw.

Probably.

And indeed it did! So from the day of my firs notification it was one week until I got a shipping notification and then one more week until it arrived via USPS.

Hey now it says it's arriving today!

I cribbed this from my friend David Palmquist: Time on your hands? If so, here’s a nice way for you to spend a few mid-day hours with no Covid travel risk! We have about 10 unfilled spots available for this year’s Duke Ellington International Study Group conference beginning April 29. It’s on Zoom, in English, and it will be free. There will be no commercial element - you won’t be swamped with ads. Instead of the usual three days of lectures and music, this year we’ll have four 3-hour sessions spread over a week. You can sign up for the whole kaboodle, or for your choice of days, subject to availability. This is the first virtual Ellington conference, but the Swedish and English Duke Ellington Societies have been doing weekly virtual sessions for several months now. It works. The presenters are fascinating and knowledgeable. Ulf Lundin, a “Swede in the south of France,” Bo Haufman, Göran Wallén and Anders Asplund, all of the Duke Ellington Society of Sweden, organized this year’s conference with advice from a program advisory group with Ian Bradley (London), Marilyn Lester (New York) and Joe Medjuk (Santa Barbara). Details at https://ellington.se/ellington-2021-april-29-and-may-3-5-7/ To register, send an email to ellington2021@outlook.com saying you want to attend and on which days. If you have students or musical friends you think might be interested, please pass this along to them. The session times are given in Central Europe Time, but I’ve added the Pacific Daylight Savings Time equivalent. Double check in case I made a mistake; it should be 9 hours difference. Times are set to be convenient throughout Europe and North America, but our friends in Australia, South America, the middle East, Africa and Asia may need to lose some sleep.