MartyJazz

I have the book and was unimpressed. A devout "newkophile" for many years, I was quite surprised at the number of excellent recordings he either did not think as highly of or he downgraded in importance, while apparently preferring certain sessions that IMO did not deserve the exalted status he gave them. For example, I recall that he didn't think much of the ALFIE soundtrack album (Impulse, 1966) while very much enthusiastic about the LIVE IN JAPAN (JVC, 1972 or 73). For me, ALFIE is a desert island disc while LIVE IN JAPAN's chief virtue is a wonderful photo of Sonny on the cover (LP, of course).

Received mine yesterday.

Have yet to receive my disc but regardless, shouldn't the discussion begin after Randy has posted his answers to BFT #33?

"Recado Bossa Nova" is THE track. You won't find a more swinging Hank anywhere else. A favorite of mine for many a year.

If I recall correctly, Jackie's "Inding" on an early Prestige (New Jazz?) date was later retitled "Quadrangle" on the Blue Note JACKIE'S BAG date. Mingus' compositions were notoriously retitled by him, e.g., "E's Flat, Ah's Flat Too" (Atlantic) became "Hora Decubitus (Impulse), "Goodbye, Pork Pie Hat" (Columbia) = "Theme for Lester Young" (Impulse), etc.

These two releases on the Pablo label are in my queue at Yourmusic.com. I've been notified that they are running low on these two discs and that I should order them immediately if I hope to get them. Anyone have these and can tell me whether or not some, most or all of the music has been released before? Also, any thoughts about the fidelity would be welcome.

Back around 1971 I purchased via mail four albums (at $5 cash apiece) of "Blue Trane Live at Mount Meru, Stockholm" with blank album covers and blank labels, the discographical information being supplied on a separate 8 X 11 typed sheet that came with each LP. (Coltrane's name was never mentioned, rather he was consistently referred to as "Blue Trane"). What you appear to have are tracks that were included on HPLP-1 and HPLP-5. You should be aware that between the two LPs, there were two takes each of MFT, Naima and Impressions. If you note the recording times for each track, you can verify which takes you have by checking David Wild's Coltrane discography, the link to the November 23, 1961 Stockholm concert being provided: HERE. On a sidenote, HPLP-2 and HPLP-3 were of Coltrane (without Dolphy) in Stockholm one year later (Nov 19, 1962). HPLP-4 consisted of a Bob Dylan bootleg concert.

Whoa! not to be competitive, but i have a signed copy of that vinyl. You definitely one upped me. Aside from Sue M. giving me Mingus' own copy of the double LP set, there's nothing to identify that it was his personal copy. Not only that, it's so scratched up, it's virtually unplayable. I've had my own reissued pristine LP copy for years so that's what I would put on the turntable whenever I would want to hear it again. On another note, while I never actually saw Mingus himself in Bradley's, I was once leaving that club by car back in the early '70s when a large black man in the middle of the gutter started yelling at me to put my lights on, something I had somehow neglected to do. Recognizing Mingus as I approached, I rolled down the window and yelled back, "Thank you, Charles". He appeared stunned that I knew who he was as I continued to drive away.

Ditto. Especially when it comes to publishing "stock contents" within one's ad. Concerning CDs or DVDs, where does that common informational material come from, i.e., stuff that's posted in each person's ad that is advertising the same exact item?

Bob Cooper, wasn't it?

I met Sue Mingus around 1991, interestingly through my non-jazz loving attorney wife who came to briefly know Sue's son, Roberto, at a New York state attorneys office they both worked at. Anyway, not being aware at that time of Sue Mingus' antagonism towards bootlegs, upon being introduced to her one night at Fat Tuesday's where the Mingus Dynasty band was performing, I mentioned that I owned quite a few private Mingus tapes and even a bootleg video of a concert done in Oslo in April 1964. Far from being turned off, she graciously invited me to her apartment one week thereafter where I met the musicologist, Andrew Homzy, and we three had a wonderful Mexican dinner (that she cooked herself) and great conversation. Her antipathy towards bootlegs really extends to those who release material in an unauthorized manner, the proceeds of which go entirely to the bootleggers themeselves with nothing being paid to the Mingus estate. Anyway, it was awesome walking into that apartment on the west side of Manhattan and seeing Mingus' bass standing against the wall. I gave Sue a dubbed copy of the Oslo videotape (which was soon thereafter released commercially) and she gave me the "Epitaph" double CD of the Mingus Big Band led by Gunther Schuller plus Mingus' own copy of the double LP, "Mingus at Monterey". So I have good memories of Sue Mingus.

Sorry, this isn't germane to the thrust of the original post but for the life of me, I can't understand the appeal of the Japanese mini-LP format. LPs and CDs are very different media. Each deserves the packaging best suited to their respective formats. Quite a while ago, McLuhan wrote accurately that new media swallows up old media before the new media develops on its own, so one would have thought that the mini-LP would have been the first packaging format when the CD arrived on the scene, rather than have arrived as belatedly and so unnecessarily as it has. I absolutely detest mini-LP packaging with the impossibly difficult to read print reduction of the original album liner notes and the bending of the cover in order to pull out a small disc - LPs for lilliputians, I guess is the concept. I want my CDs in a tray insert within a jewel box ALWAYS. Another reason I hate the mini-LP packaging is that the discs do not fit on the CD shelves I own. The designers of these shelves evidently never considered the diabolical introduction of the mini-LP packaging concept. P.S. I do dig June Christy however.

Those are easily his two best recordings.

When I got married a little over 20 years ago, I already owned nearly 5,000 LPs. So when CDs came along, my wife said to me, "As far as you're concerned "CD" means "Certain Divorce". Some 2,000+ CDs later, we're still together.

This outfit has been around a very long time. I used to get all my vinyl packaging needs, e.g, inner & outer sleeves, cardboard packaging for mailing, etc., from them: http://www.bagsunlimited.com/ Click on "Audio"

There's also a fine one from around '68 - JAZZ CONCERT IN A BENEDICTINE MONASTERY, a quartet date that includes Mal Waldron, Jimmy Woode and Art Taylor. As mentioned above, the Polydor date - RULES OF FREEDOM - is also a very good quartet recording. Having gotten into Davis over 30 years ago, these two are a couple of my more valued vinyl recordings. I also have one on the Segue label with an African sounding title - MAKATULA (sp ???) that I've rarely played, evidently because I don't think it measures up to the others mentioned.

I agree. I have this on LP and I've always found his '70s studio sessions to be incredibly dull, even more so when compared to his extraordinary '60s output. The good news for me is that when I saw him several times in the '70s his club dates were infinitely better and more exciting than anything he was putting on record at that time. Unfortunately, that live stuff wasn't recorded.

OK, Randy. Track #8 positively ID'd. A little tricky because of course it's Coltrane and the quartet in '65, but the two saxophones are due to a bit of Trane overdubbing. The track is "Living Space" (Impulse).

Received the disc today and am giving it a listen right now, currently on the last track. A very uneven disc. Shouldn't have to say it but have not looked at previous responses. Will only remark on the tracks that I liked and/or I positively identified: 1) Pretty laid back, pianist seems to from an older school but I have no clue. Rubber band approach from bassist is evocative of Buster Williams to these ears. 5) Tenor gots to be George Adams who is very identifiable. A second listen pinned the track for me which I have on LP only and therefore it's been awhile since the last listen: "Joobubie" from HAND TO HAND (Soul Note), an album co-led by Adams and Dannie Richmond. 6) Recognized this immediately. Love the tenor player, Nathan Davis. Woody Shaw is readily identifiable also. Track is "Evolution" from HAPPY GIRL (Saba LP). This was reissued on the CD titled: TWO ORIGINALS (MPS) 8) Evocative of Coltrane's "Spiritual", but doesn't get to me the way that piece does. Seem to be continually setting the listener up for more, and finally gets going around the 3 minute mark. However the more I listen, the more I'm convinced it is indeed Coltrane with Elvin churning away behind him. 9) Liked this but have no clue. Wish I could have dug more. Perhaps it's the mood I'm in.

I think it's terrific! Another trio outing also recorded in May '74 worth getting is TETE! These two albums and perhaps TOOTIE'S TEMPO (also on Steeplechase) represent his best trio recordings, IMO. One caveat: Lots of Steeplechase recordings back in the '70s were licensed to a U.S. label, Inner City. The IC pressings are nowhere near the quality of the Danish Steeplechase editions. But for $3.99, it's worth getting particularly if you still put records on the turntable often enough. Martin: Do you happen to have the Inner City issue of "Catalonian Fire"? I still need release date for this US edition. Thanks in advance! Agustín Thankfully, I only have the Steeplechase editions. Sorry I can't help.

George and Alice have been at a nursing home for years. Despite their advanced age and infirmities, every once in a while they get together for some discreet hanky panky, such as it is. One day, Alice decides to visit George but stops aghast at the entrance to his room when she sees a new patient who also happens to be an elderly woman. This woman is standing besides George's bed, her hand under George's blanket while George is looking up at the ceiling with a look of ecstasy on his face that Alice has never seen before. Hurt, she waits for the other woman to leave, then enters the bedroom to confront George. She angrily says to him, "In all the years that we've been seeing each other, I've never seen such a happy look on your face whenever I've touched you. What does this woman have that I don't have"? George replies, "Parkinson's".

I think it's terrific! Another trio outing also recorded in May '74 worth getting is TETE! These two albums and perhaps TOOTIE'S TEMPO (also on Steeplechase) represent his best trio recordings, IMO. One caveat: Lots of Steeplechase recordings back in the '70s were licensed to a U.S. label, Inner City. The IC pressings are nowhere near the quality of the Danish Steeplechase editions. But for $3.99, it's worth getting particularly if you still put records on the turntable often enough.

I have the audio of that TV show and I suspect that lots of other people have it by now as I seeded it (thanks to Dan Gould who transferred my open reel tape to CD-R) on one of the jazz vine forums this past year. Details are as follows: "JUST JAZZ" TV broadcast, Chicago c1971: Don Byas, ts Jodie Christian, p Rufus Reid, b Wilbur Campbell, d 1) unknown title 2) Tenderly 3) Autumn Leaves 4) Stella By Starlight 5) But Not For Me

Totally lame. If you took all the time you spent writing posts in which you either apologized for the mistakes made during the initial mail out of the BFTs, or castigated those here who dared to criticize you, or enumerated all the various projects you're involved in, or complained about how you have difficulty prioritizing and getting things done, you could have listed the contents of your own BFTs several times over in a variety of formats. Speaking for myself, I hope you either list the contents to your second disc in your next post to this forum or just choose to disappear entirely.

I agree that Miles was indeed a trumpeter, but even great musicians have described Miles' talent in somewhat pejorative terms. I recall an Art Blakey interview I heard on the radio many years ago in which he said that Dizzy and Clifford Brown were great trumpeters, but that Miles was a great "stylist".