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What is Mould release agent? I have a Nitty Gritty cleaner, and it makes a big difference on dusty vinyl.

Yes - I forgot about that one. And also his "Cold day in hell". They've issued a new live one of Rush last year, which I haven't got around to yet. Bet tht's a good 'un, too. MG Others seemed to like the newly issued Otis Rush more than I did--the recording has that cassette recording sound.

Delmark has also issued many outstanding blues recordings (see Jimmy Dawkins recordings above), and also: Junior Wells--Hoodoo Man Blues Magic Sam--West Side Soul Otis Rush--So Many Roads Robert Ward--New Role Soul

They are attending to your soul and are wholly unconcerned with such crass worldly concerns.

Roy Campbell--New Kingdom and La Tierra del Fuego Malachi Thompson--Blue Jazz

Ornette's concert schedule from his website: June 17, 2007 Bonnaroo, Tennessee, USA July 6, 2007 Kongsberg, Norway July 9, 2007 Royal Festival Hall, London, UK July 11, 2007 Perugia, Italy July 13, 2007 Pescara, Italy July 15, 2007 North Sea (Rotterdam), The Netherlands July 18, 2007 Warsaw, Poland July 20, 2007 Vitoria, Spain September 23, 2007 Monterey, California, USA September 26, 2007 Los Angeles, California, USA

Freddie Hubbard--Keep Your Soul Together (CTI).

He sounds great on Horace Silver's Paris Blues.

The Caravan of Dreams was funded by one of the members of the very wealthy Fort Worth Bass family. I seriously doubt that Ornette was out-of-pocket for his appearances there or recording for their label. Likely to the contrary, I hope he walked away with pockets full of Bass money. I did see him play there unannounced for free (I think) once. He sat in for a set with the Moffett Family Jazz Band.

A Mingus Birthday Present WILL FRIEDWALD 1274 words 16 April 2007 The New York Sun English Copyright 2007 The New York Sun, One SL, LLC. All rights reserved. Last week at the Allen Room, at a reception to raise money and awareness for the ongoing disaster in New Orleans, one particular speaker brought us back to a Crescent City crisis that occurred 47 years ago. This was Ruby Bridges Hall, who had been the first black child to integrate the Louisiana public school system in 1960. That Mrs. Hall is still only 52 was in itself kind of shocking; it forced us to remember that the American shame of institutionalized racism was very much a reality within most of our lifetimes. Perhaps not coincidentally, for the next two weeks, a mini-festival will be held to commemorate the 85th birthday of Charles Mingus (1922–79), the jazz icon who perhaps devoted more energy than anyone to combating the evils of segregation. All will occur just outside the doors of the Allen Room, in various nooks and crannies of Lincoln Center. Under the stewardship of Mingus's resourceful widow, Sue Mingus, no less than three posthumous ensembles currently operate in Mingus's name and play his compositions: Mingus Dynasty, which replicates the sextet format that the bassist used for most of his performing career, and two larger groups, the Mingus Big Band and the more classically oriented Mingus Orchestra. Usually these three groups alternate on Tuesdays at the Iridium, but this week all three will appear on different nights at Dizzy's Club Coca-Cola. On April 23, the Juilliard Jazz Ensemble will offer its own program of Mingus music at Dizzy's. And the climax of the series will arrive on April 25, when the celebrated conductor and scholar Gunther Schuller leads a massed 30-piece orchestra in Mingus's sprawling epic, "Epitath." Also on the horizon are two CD releases containing rare performances by Mingus - a 1970 concert in Paris previously issued only in France (Sunnyside Records), and a completely unknown appearance from March, 1964, at Cornell University, to be issued as a double-CD package by Blue Note. The latter is of special historical importance: The spring of 1964 was a championship season for the bassist and bandleader, who performed a famous concert at Town Hall on April 4 before launching a tour of Europe. It would become the most famous tour of the most celebrated edition of virtually any Mingus ensemble, featuring Eric Dolphy (reeds), Jaki Byard (piano), Clifford Jordan (tenor sax), Johnny Coles (trumpet), and Dannie Richmond (drums). Until now, it was generally believed that Mingus introduced this particular edition of the sextet, as well as three of his most famous compositions, at Town Hall. But the discovery of the Cornell concert reveals that he had this group together and was playing this music at least two weeks earlier. The Cornell show includes classic performances of Mingus's two most famous anti-discrimination statements, "Fables of Faubus" and "Meditations" (aka "Meditations on Integration"). Mingus originally introduced "Fables of Faubus" in 1959, in response to the damage done by Orville Faubus, the governor of Arkansas, who had closed down the high school system in Little Rock rather than let black children share a classroom with white children (in direct defiance of an order to integrate from President Eisenhower). The original "Fables of Faubus" ran a mere eight minutes, but Mingus revived it in 1964, partly in response to the Faubusian rancor of Alabama governor George Wallace. "Fables of Faubus" was the central work of the April 1964 tour, and Mingus introduced the new, expanded version at Cornell. The written part of "Fables" is less than two minutes, which is comparatively short considering that all the April performances of it are roughly 30 minutes long. The melody, written in 4/4 and A-flat, is phrased as a tango in the tradition of Kurt Weill. In evoking Weimar-era Germany, Mingus was obviously comparing Faubus and Wallace to the Nazis, an irony that would not have been missed by jazz audiences of the 1960s. In calling the work "Fables," Mingus had at least two meanings - a fable in the sense of a myth or an old story that is just not true, and a fable like a folly in the sense of Florenz Ziegfeld, an extravagant story staged for our amusement. "Fables" is not only a piece of music, but of theatre, and in the way the six soloists make their individual statements, it can almost be seen as a Ziegfeld-style revue. Certainly, the Cornell concert of 1964 did take on theatrical dimensions, both in terms of the performance and the subject matter. Each of the players' turns is hardly a "solo" in the sense of your usual jazz ensemble, but something more like an vaudeville act, an extended statement of taste, culture, and history. First up is trumpeter Coles, who begins by imitating Mingus's sometime collaborator, Miles Davis. He deliberately mimics the trumpeter's tone and several stock burnished phrases circa 1959. When Byard takes over, he references familiar music in an altogether different way, taking several key American patriotic anthems, "Yankee Doodle" and "My Country 'Tis of Thee," and turning them on their ear. Just in it case it isn't clear what Byard thinks of the segregationists, he plays a few bars of Chopin's funeral march. As Byard's section ends, the theme is reprised with Coles doing Ellingtonian wah-wahs, Dolphy blowing bass clarinet, and the group detouring through Latin and boogie-shuffle interludes. Out of nowhere Clifford Jordan is upon us, in a mostly upper-register solo that sums up 20 years of jazz history from bebop to freebop - the latter represented in a largely unaccompanied section in which he wails a free-form blues. The other horns gradually fall in behind him, with much sobbing and gnashing of teeth; when Byard and the rhythm section return, we are ready for it, and at one point he enters into a pistolsat-10-paces duel with drummer Richmond. Mingus then reminds us that he was, in fact, one of the very first bassists to claim the privilege of soloing alongside the frontline horns. He takes a cue from Byard and dwells on "My Country Tis of Thee," working other tunes like "When Johnny Comes Marching Home," "Blues in the Night," and "It Ain't Necessarily So," in and out of it. When Dolphy enters on bass clarinet, he plays the instrument as if he's just discovered it, starting with avant-garde screeches in the upper register, then an unaccompanied ad-lib passage in the lower that sounds more classical, and a trip to exotic lands and sounds with Eastern harmonies that sound neither major nor minor. He climaxes the piece and very nearly the whole evening - even though it's only the third number of the first half. There are many other highlights in this amazing two-hour concert, not least of which is the other piece on the subject, "Mediations on Integration." For his political stance, Mingus and his five musicians end sweetly but swingingly on two fast, soulful waltzes - Fats Waller's "Jitterbug Waltz," featuring Dolphy on flute, and "When Irish Eyes Are Smiling." The latter is played in a catchy 6/4 with modal overtones, perhaps somewhat irreverently, but Mingus had too much respect for other cultures to play it caustically or sarcastically. In that sense, he makes "Irish Eyes" one of the most eloquent pleas for racial and ethnic unity that I've ever heard. It's a bold statement from a time when even the daily routine of going to school amounted an act of unbelievable bravery.

Ordered, and thanks for the tip (the Red Garland was a big winner).

On the one hand, this is Concord Records, for goodness' sake. Who do you expect them to record, Keith Rowe? Zeena Parkins? Their basis of comparison is George Shearing, Rosemary Clooney, Gene Harris. On the other hand, seriously, isn't it a bit much to call Holland et al. "music of yesterday" as if they're just hopelessly old hat? How long is "a day" in music anyway? And does it matter? When I listen to Holland it doesn't sound like the equivalent of Dixieland or something. Gonzalo Rubalcaba is not the music of yesterday either.

In a just world, there would be a Jazz CD tax credit...

Not so sure about this As a matter of fact, I would not be surprised to see the Gene Shaw sessions appearing on one of the Andorrean label pretty soon. Don't they need a prior CD reissue to steal? I don't think there has been one for Debut in Blues or Breakthrough.

Personally, I prefer a happy medium. Concert halls are too stiff and formal. They are also often too large. I have zero interest in going to a club that has a noisy and loud patronage. The best places I've been to are clubs like the Village Vanguard, Jazz Standard, Birdland, Sweet Basil/Rhythm--where the space is intimate, the sound is good, and there is at least a general expectation that the audience will remain reasonably quiet and respectful of the music.

Thanks--I ordered the last amazon seller copy on their site (for only $3.99).

Declining thread memory is yet another sign of the aging process.

There's also an excellent OJC, Let's Swing.

That is my experience with the main clubs in New York as well. An exception applies when you get seated near a party of two consisting of an older guy and a much younger woman who isn't his daughter.

From Off the Wall, Ill Wind and Playin' My Hunch are the ones I put on my ipod.

Richard Groove Holmes--The Groover! (Prestige) Brother Jack McDuff--Soul Circle (Prestige)

I don't have much, but I like George Shearing and the Montgomery Brothers.

Organnisimo in Paris.

I went a year or two later--they did have one tent (out of many stages) which was mostly devoted to jazz. As I recall, the good bands I saw at the jazz tent the weekend I was there included the Timeless All-Stars, Donald Harrison and Terrance Blanchard, Ramsey McLean and the Survivors (never heard of him before but the band was fantastic), and a George Wein All Star group with Harold Ashby and Scott Hamilton. But really it should be called the Mostly Music other than Jazz Festival. After attending once, I realized that if I needed a jazz festival, there was a better one going on 365 days a year in New York City, not to mention New York is alot safer to visit.

The Prima/Manone Mosaic doesn't appear to be very popular--if I can surmise from the fact that there are only two reviews on the site. Now I have to order it for sure.