Dan Gould

Roy Haynes as a (I guess) still vigorous 96 year old is an enormous comfort to me.

Never saw that before though I did receive a video transfer of the group with a Japanese big band, must be this same recording, once gave serious thought to using it on a BFT.

As you know I have been spending a lot of time on a monthly basis with a certain someone's live performances. Its very good-to-outstanding live jazz but I would not call it "intense" and certainly not "intense" in the way its being used to describe this show. Also no songs that are 18-22 minutes long, FWIW. And it doesn't lack for excitement. Just not what I think when I hear "intense". To me this brand of "intense" grows out of Coltrane and a few other artists, and personally I can deal in small doses only.

Well I am glad it is working out for you, we will see what happens from here now that I will try to reach them. Definitely will not waste time in the future on this company, surely not as a direct consumer (I think I've ordered thru Amazon but they can't afford to screw up that relationship so they generally don't screw up those orders too terribly.) Thank you.

What has MovieMars done with your order to date? I have not only realized I never got any acknowledgement yet, I can't even find my print out of the order/order # to initiate some unpleasant email exchanges. Upset with myself and with them. Whatever happens here they are on the Permanently Banned list.

Did the expanded Morgan at the Lighthouse tell you anything new either? I am one who is always ready for "new" from the "old faithfuls" - (and my objection to the "complete" Morgan is that it isn't so much "new" as "a lot more of the same.")

Can anyone explain this? Per Allmusic, Tucker's first recording as a leader was in 1975, yet in 1974, on Willis Jackson, Headed and Gutted, Muse had to give the "Mickey Tucker appears courtesy of Blue Note Records" credit? So he was signed to the label but never recorded, certainly not as a leader?

My first instinct was that they are pulling the wool over people's eyes and pretending that the Day with Art Blakey releases never occurred but since the track lists are different, this gets a HELL YEAH from me. Maybe the Zev association with BN will get us more like this.

I remember when I stumbled across that album at a store in south Florida. About $20, VG+, Liberty issue. Had no idea if it was a fair price but at that time I considered $20-25 an OK price for things I knew I really wanted, and no doubt this qualified. It was definitely long before internet shopping or discogs took over so much of my purchases.

Well this is pretty shocking which I guess is what he wanted. Way too young, that's for sure. While it was only about an inch deep, I liked his Burt Reynolds impersonation even if Connery got the best lines.

The Three Sounds, Today's Sounds (Limelight) I can't tell you how excited I was to stumble across this LP back in the 90s or early aughts, simply because the other Limelights had odd orchestrations surrounding the trio, additions that only occasionally worked very well. So a live set of just trio was great, even if they did cover "Mohair Sam".

Not after deciding his inside/outside schtick was mostly annoying.

Last post mid-July last summer was "going to get tested for Covid".

Nobody ever bit on my "Percy France" or "Percy, France" so: Bill Doggett with Percy or Bill Doggett with Clifford Scott?

I know nothing about Steve Allen musically so can't answer the Cosby face off.

Somehow I didn't expect to stumble across this from grammy.com but it's a pretty perceptive piece. https://www.grammy.com/grammys/news/hank-mobleys-soul-station-60-how-tenor-saxophonists-mellow-masterpiece-inspires-jazz

That's easy - Weeds. Hank Mobley w. Lee Morgan or Hank Mobley w. Donald Byrd?

I think I remember both equally ... very first Gene Harris was Blue Hour, purchased solely due to the presence of Stanley Turrentine, in St Louis, at a mall shop I'd never been in, either right before or right after seeing Working Girl in the mall theater. Worst Gene Harris the mid-70s release with him surrounded by kids, that was at the aforementioned Papa Jazz, and my money was cheerfully refunded in store credit.

It's the exact one I used using two used record stores in St Louis (neither of them Euclid Records, I only went there rarely, not convenient enough a location) followed by Sally's Place in Westport. I never applied a year or specific price cut-off in exploring when it was all record store picking, and even after the internet never considered samples very often at all. Dot connecting sometimes did not work out very well, one I definitely remember was 1-2 Ken McIntyre Steeplechases, purchased because of Kenny Drew. Thankfully, the great local store at that time was in Columbia South Carolina, Papa Jazz, and even though they had a prominent sign that said "if you buy a record and don't like it, it is now a used record. Store credit will be given accordingly," they realized how much I was buying and quietly gave me full value store credit on anything I brought back. Plus they gave me a t-shirt when I told them I was leaving grad school and moving to CT.

I hope so, as long as they don't take the approach of "this was Phil's, now its the family's." I would expect the family knows the significance themselves.

No idea about a storage locker.

I don't think anyone knows. I think his blog is still paid for and I think what he uploaded is still there but what else did he have in his closets?

Of course we're assuming that all of these reels are still playable which is probably a big assumption. On the Percy France Memorial broadcast, Phil tried to play a recording from the West End that was only six years old at the time, and he bailed after one tune due to the squeakiness of the tape heads. We're talking now about thirty years later.

I've had good contact with both the assistant and Sid Gribbetz the long-term jazz host. I think we can prevent a great loss of jazz history. Can't say the same for Chris A.'s stuff.

In addition to whatever KCR recordings are in his house/apartment, I was told of a possible donation of Schaap interview tapes to some institution. No idea if there was progress there, and for that matter, will his assistant continue to digitize shows for Phil's website? The site needs (or at least the College of Jazz Knowledge part) to stay up and available.