ghost of miles

Love the alternate take of “Mode For Joe” heard here. Great set in general.

Would love to hear it, but will have to pass without a CD release.

This might have been mentioned in a thread elsewhere on the board, but thought I'd go ahead and post the press release I received for it today. Out June 12: Hard-Hitting Previously Unreleased Live Performances by Bop Tenor Master Harold Land Due from Reel to Real Recordings Westward Bound! Features High-Voltage 1962-65 Dates Captured at Seattle’s Penthouse with Trumpeter Carmell Jones, Pianist Hampton Hawes, and Drummer Philly Joe Jones Available June 12 in Celebration of ‘Record Store Day’ as a 33-1/3 RPM Two-LP Set on 180-gram Vinyl; Available via on CD on June 18 and Digitally on August 6 Deluxe Package Features New Interviews with Tenor Giants Sonny Rollins and Joe Lovano and Essays by Jazz Authority Michael Cuscuna and Pianist Eric Reed Continuing its mission to unearth important, previously unreleased jazz performances, Reel to Reel Recordings returns in June with Westward Bound!, a crucial collection of forceful quartet and quintet performances by the masterful tenor saxophonist Harold Land. Crisply recorded at the Seattle jazz club the Penthouse in 1962-65 by engineer Jim Wilke and originally aired as part of a weekly broadcast from the venue on KING-FM, the new collection will be issued on June 12 in celebration of ‘Record Store Day’ as a 33-1/3 rpm two-LP set on 180-gram vinyl mastered by Kevin Gray of Coherent Audio and pressed by Standard Vinyl in Toronto. The album will then be available on CD on June 18 and digitally on August 6. Reel to Reel – a partnership between Vancouver-based jazz impresario and saxophonist Cory Weeds and Resonance Records co-president and award-winning “Jazz Detective” Zev Feldman – was launched in 2018 with a pair of releases that included its initial title drawn from the Penthouse’s audio trove, Cannonball Adderley’s Swingin’ in Seattle. The label has since issued Ow!, featuring 1962 Penthouse dates by tenor men Johnny Griffin and Eddie “Lockjaw” Davis; previous Resonance titles from the Penthouse archives have included sets by West Montgomery (Smokin’ in Seattle) and the Three Sounds featuring Gene Harris (Groovin’ Hard). In his notes to the new album, Feldman writes, ‘I feel that these recordings of Harold Land are special and need to be heard. Land was one of the purveyors of West Coast jazz whom I feel is an underrecognized genius who doesn’t get discussed enough….Land was on top of his game during this important part of his career in the mid-1960s.” Comparing the new release to In Baltimore, Reel to Reel’s 2020 live collection by George Coleman, Weeds adds, “Westward Bound! finds us celebrating another unsung hero of the tenor saxophone.” Born in Houston and raised in San Diego, Harold Land established himself as a jazz star with four EmArcy albums in the tenor chair of trumpeter Clifford Brown and drummer Max Roach’s celebrated ‘50s quintet. Based in Los Angeles from the mid-‘50s on, he worked fruitfully as a leader, recorded regularly with big band leader-arranger Gerald Wilson, and played behind such giants as Dinah Washington, Wes Montgomery, Thelonious Monk, Les McCann, and Hampton Hawes. In later years he forged fruitful alliances with trumpeter Blue Mitchell, vibraphonist Bobby Hutcherson, and the Timeless All Stars. Sonny Rollins – who replaced Land in the Brown-Roach combo – says in a new interview with Feldman, “Harold Land was one of the premier saxophonists of the time. He was one of the best….He was a great player, one of my favorites.” Contemporary tenor titan Joe Lovano tells Feldman, “Harold had his own sweet way of playing and his own flowing language….He was equal to Coltrane and Sonny.” The earliest of the Penthouse dates heard on Westward Bound! pairs Land with a similarly underestimated player, the gifted Kansas City trumpeter Carmell Jones; the two musicians worked together regularly on sessions for Pacific Jazz Records. In his overview essay, jazz historian and producer Michael Cuscuna notes, “He and Land made a like-minded team; each would play every note with purpose and articulation.” The band on the Dec. 12, 1962 performance also included Wes Montgomery’s brothers Buddy (piano) and Monk (bass) and drummer Jimmy Lovelace. During Penthouse gigs on Sept. 10 and 17, 1964, Land was joined by another prominent artist he had worked with before: pianist Hampton Hawes, who had led the storied 1958 quartet date For Real!, which also featured the saxophonist. In an essay about the keyboardists heard with Land on the new album, pianist Eric Reed says, “Although it is not widely acknowledged (or even known), Hamp was largely responsible for blending the language of the Blues, Jazz, and Gospel music in such a way as to influence many that came after him.” Westward Bound! climaxes with an Aug. 5, 1965, date featuring Monk Montgomery, pianist John Houston, and another jazz legend, the explosive drummer Philly Joe Jones. The rhythm turbine of Miles Davis’ magnificent ‘50s quintet, Jones relocated in the ‘60s to L.A., where he played regularly with Land. Cuscuna writes, “This is a high-octane quartet, thanks in large part to Philly Joe’s ability to swing hard and keep a tight rein on the music with the loosest feel.” In his own introductory note to the album, Charlie Puzzo, Jr., son of the Seattle club’s owner and operator, says, “I hope the release of this album will allow you to experience the magic of Harold Land’s performances at the Penthouse and also to feel the excitement of actually being in the audience. As a collector myself, I know how important it is that the packaging and esign live up to the source material, and I believe this album does just that.” REEL TO REAL RECORDINGS LTD was launched in 2017 by jazz impresario Cory Weeds and renowned producer Zev Feldman and is focused on important archival jazz releases. Releases include Cannonball Adderley – Swingin' in Seattle: Live at the Penthouse (1966-1967), Etta Jones – A Soulful Sunday: Live at the Left Bank, Johnny Griffin/Eddie “Lockjaw” Davis – OW!: Live at the Penthouse, and George Coleman Quintet in Baltimore. Harold Land · Westward Bound! Reel to Real · Release Date: June 12, 2021

One of my fave early-80s pop records:

Really enjoyed his book about the making of High Noon and so far this one is quite promising as well:

We re-aired Shaw Sounds Final: Artie Shaw 1949-54 this past week, and it remains archived for online listening.

In honor of Daniel Humair’s birthday today—part of a recent purchase from Tommy’s Jazz: Just pulled that out for a listen myself last week.

Sounding especially good on this Saturday late-afternoon:

ESPN stats & info feed says last night’s Yankees-White Sox game was the first in modern MLB history (since 1900) in which both starting pitchers struck out at least 10 and allowed no runs or walks.

Target lists a July 30 release date for the vinyl version. I still can’t find any listing for the CD version, which is what I’ll be buying.

AL East is shaping up, much as I thought, to be a real dogfight. I think everybody but the O’s has a shot at winning it, and it could end up with four teams winning 85-95 games. If the Nats decide to sell Scherzer mid-season and either Boston or Toronto (which hasn’t even had George Springer in the lineup regularly yet) nabs him, look out.

May 20 and we’ve already had six no-hitters after Turnbull and Kluber’s back-to-back outings this week—only one away from tying the MLB season record. If Bumgarner’s had counted we’d already be there. Is the collective league BA still running at a near-alltime low? Have the pitching ghosts of 1968 reincarnated in the three-true-outcomes era?

We re-aired Heard It On The TV: Jazz Takes On Television Themes this past week, and it remains archived for online listening.

Synchronicity and all that jazz--I logged into the board just now to post that I was listening to this album, in honor of Red's birthday. It's a sentimental favorite, because I'm pretty sure it's the first Garland I ever bought, after the album cover hooked me as a young record-store clerk. It sounds awfully damn good all these years later, too:

Apologies if I overlooked prior mention of it while perusing this thread, but anybody interested in this genre, however we define it, should definitely check out Jazzman’s ongoing Spiritual Jazz series (I know a number of other board members follow or are aware of these releases). The two most recent volumes focus on modern-day artists.

Up in memory: Rookie Of The Year: Curtis Fuller ‘57