Dan Gould

Please report if the download is lossless or MP3.

Reviews and label display ads ... but alternate sources of that information changed my calculus a long, long time ago.

Yes Peter, I agree. I didn't experience Resurgence of the way others did, it just came across as ... non-descript? OK but not memorable. I can imagine anyone alive at the time could definitely have a soft spot for it, as "new" Dex from that young guy who was off the scene. (Not saying that specifically describes you, of course.)

OK can I just say that for me it's disappointing to hear that Vick was trying to play like Trane in 1966-67 (also a case of being contemporary, perhaps), because I am much more a fan of the grits/gravy Vick heard on his BN album and other recordings as a sideman. Plus he more or less went back that way when he resumed gigging and recording with organists, IIRC. Still want to give this a few good listens.

Have you heard the recording they did with Clifford Scott? I find that one very satisfying.

Just received from amazon as a pre-order. Very much looking forward to hearing it. I didn't make any other pre-order commitments so hoping someone comments on the Shirley Scott and maybe the Stitt too.

thanks for that link, I don't think of these as fantastic Pres but I am certainly interested in the story behind the gig and recordings.

Right, and all three rate higher than Resurgence.

Can't say I do ... I think I did not get it for a long time, and when I did,, I said thank God for Daddy Plays the Horn because that other recording from the decade is so much more satisfying.

I am more interested in the Cubs than the Red Sox because the latter once again has a poorly conceived roster ill-equipped to compete with anyone.

Chinen is among the ones now on the outs due to their race. It's the new owner of the magazine with race on his mind and he seems to be exclusionary (and blame-casting) about it. Quotas are not on his mind.

Those were the next posts I was going to check out.

Looking on discogs, the series I was thinking of with the similar cover concepts seems to be the VE which can be seen here if you scroll down a bit https://www.discogs.com/label/5041-Verve-Records?genre=All&limit=500&sort=catno&sort_order=asc&page=35 It seems to have started and ended much sooner than I thought but then again copies like the Ben Soulville were easy to find when I started my jazz odyssey in 1988. I probably should have been clearer that I was thinking of a wider variety of artists than just Webster, although I do see three of his listed and they don't include the reissue of & Associates as And Friends.

So does that mean that smooth/contemporary is still selling? Is smooth jazz still a viable radio format? Its not that surprising to me that JAZZIZ would still be in business.

Funny, I did see that thread but I was reading Porter's pieces about Big Nick Nicolas that made me want to post about his substack ... nicely circular.

There were a bunch of Verve double LP reissues back then of Ben sessions, I think I had a few though never saw this one. Weren't they issued in the early CD era, say post 1985 or so?

I assume that "published" online counts for this subforum ... https://lewisporter.substack.com/ Lewis Porter has some great posts up on his substack - you can read without subscribing though I don't know how many articles trigger a block. Check out the one about Miles and Coltrane recording together again, as well as a Coltrane playing Monk compositions with Golson arrangements proposal.

But Substack doesn't really fit a model for a publication with such a wide variety of published material as a magazine, does it? I see substack as a way for writers of all stripes to publish (sometimes) worthy reporting and opinion without limitation of a publisher/editor. Sort of Only Fans for non-adult entertainment.

This seems a lot fluffier than before. Can't wait to see jazz pushed back into popular culture though. A thousand eye roll thingamabobs.

Am I the only one to find this a bit of a comedown from the prior pandemic release of that live Paris set with organ? The tracks are mostly slower tempo and the one vocal (by Lewis Nash) did nothing for me. Overall this is like 3.5 stars where previously, Person's new releases were unadulterated joy-joy for me.

I listened to this for the first time driving to Naples over the weekend and cannot recommend it highly enough. Tate, Sweets and Powell all take solo honors but its a very strong performance across the whole band.

And your response reinforces my conclusion that this society is hopeless, not because of racism but because of Identity politics. Instead of judging people by the content of their character, we judge by the color of their skin. And we determine that white writers need not write about "black" topics. And traditional liberalism is called "white fragility".

Don't apologize to me, apologize for using a term like white fragility, one of the most ridiculous concepts to emerge in this god forsaken era where the truly fragile pay race hucksters to have dinner and be berated over their racism. I am sure you've heard of that "service"? And the racism "trainers" get richer and richer because "the work" "can never be done". Why is it that the idea that a writer's skin color has nothing to do with the value of his prose is not universally accepted? I didn't read Willard Jenkins' JT writings because he is black. I read him because he had something to say. And I think you should read, and re-read Allen's reply to you.

Really fascinating piece, I remember reading about this guy back when the Times did their piece about the obscure female blues singers ... in the end you have someone who did extraordinary work documenting musicians and histories, even as he also worked to obscure the truth as it suited him, or suited what was clearly a diseased mind. I will be interested to see what the Smithsonian puts out from the archive. I mean The Monster.

Yeah HA HA HA, I must be butthurt over something that hasn't been a part of my life and won't be. 1. I have butthurt over naked racism. 2. A new owner might want to figure out how to get people like me to read/subscribe, but he seems to view the decline of the magazine as a consequence of it's white journalist "gate keepers'. This last bit is a pantload of garbage. You want to re-read? Fine: "I want you all to imagine a world in which Black writers, as a matter of course and almost exclusively, provide the critique, opinion and coverage of White jazz artists and their music. Scary, huh?” Only a racist sees race as the defining characteristic of a writer. His claim here is that black writers writing about white jazz artists would frighten ... who? Other whites, obviously. Jazz fans want interesting writing about interesting musicians regardless of the race of the writer or the musician. "This publication has lived in an insular bubble for decades — a magazine seemingly written for the consumption and from the perspective of white journalists (often themselves wannabe jazz musicians) who have had no interest in appealing to a general public. A wankfest of the highest order, largely undertaken and overtaken by white people at the expense of cultivating a legacy amongst jazz's primary heirs — past and future Black generations." "Overtaken" - the language of appropriation, aggression, theft. And, we now know that Jazz's primary heirs are black people. RACISM. "These writers, aka the gatekeepers, historically worked on a tab until this Black man said get the fuck out" RACISM AGAIN as he has identified the gatekeeping writers as "White". Again, I get butthurt over racism wherever it exists. How sad that this garbage goes down at the same time that Mike Longo's widow has published his autobiography, The Rhythm of Unity: A Jazz Musician’s Lifelong Journey Beyond Black and White https://www.amazon.com/Rhythm-Unity-Musicians-Lifelong-Journey-ebook/dp/B0BWZ52WCT/ref=sr_1_1?crid=2E6NQM70TW9KV&keywords=dorothy+longo+rhythm+of+unity&qid=1677604472&sprefix=dorothy+longo+rhythm+of+unity%2Caps%2C143&sr=8-1