Mark Stryker

"Eddie Harris Sounds Incredible" from 1980 lives up to the billing. There's only one track on YouTube.

Simple oversight. There's so many different bands to remember. Adding a quick nod ... Thanks Updated: "Now throw in the sublime early ‘70s solo piano records on ECM; the go-for-broke duets with Herbie Hancock; the potent but short-lived quartet with Joe Henderson, Gary Peacock, and Haynes; the underrated Origin sextet with Steve Wilson, Bob Sheppard, Steve Davis, Avishai Cohen, and Jeff Ballard; and the New Trio with Cohen and Ballard."

Just a note on this. The vocalist here, Bill Tragesser, was subbing for Flora Purim, who had either just had a baby or was about to.

Thanks all ...

David -- thanks for posting and for the kind words. . Hutch -- thanks for the nice words too,

I love this record — in fact, the first side (with the standards) might be my favorite Chick of all. I wish I could have heard this trio live. My older brother heard them at the Vanguard in the early 80s — he went five of six nights. Roy Haynes wore a different cowboy hat every night. There must be bootleg tapes of this trio, but I’ve never heard them. I did hear him live at least 11 times. Solo piano (2018 in a 60-seat club) Trio with McBride, Blade Trio with Gomez, Blade Trio with Clarke, White Akoustic Trio with Patitucci, Weckl Duo with Herbie Duo with Gary Burton Origin sextet Five Peace Band with McLaughlin, Garrett, McBride, Blade (in for Colaiuta) Freedom Band with Garrett, McBride, Haynes With Detroit Symphony and small group

Disagree: I don't think it's at all true that Chick entered the scene as a fully formed player. Perhaps that's a chimera created by his first records as a leader in 1966 and '68. But Chick came to New York at age 18 in the fall of 1959. His first record dates (Santamaria & Bobo) were not until three years later, and if you listen to Chick on "Stitt Goes Latin" -- try the "Amigos" linked below -- from 11/63 (four years after arriving in NY) he's still a LONG way from being fully formed. There's still undigested Bud in here and his time feel is way behind the beat, whereas mature Chick is much more on top of the time. He starts recording more in 1964 and certainly by July of that year when he records "Chick's Tune" with Blue Mitchell, he's well on his way to being himself -- that quick flick of the wrist and rhythmic stutter at the start of the piano solo is unmistakably Chick. But even on the shuffle blues "March on Selma" with Mitchell a year later in July '65, the piano comping and soloing sounds like it's part McCoy and part Herbie in their down home modes. The big leap forward to me judging by the records is between 1965 and '66, because by the time you get to his debut as a leader, "Tones For Joan's Bones" in Nov '66, what you're hearing is Chick Corea as we know him. But that record is a full 7 (!) years after coming to NY. Contrast that with Tony Williams, who really did sound fully formed at age 17, when he made his first records in the winter and spring of 1963 with Jackie McLean, K.D., Herbie, and Miles. Or Joe Henderson who is already fully formed on first recorded appearance on K.D.s "Una Mas." (The track "Straight Ahead" is already peak Joe.) It is true that "Tones For Joan's Bones" is an astonishing debut record, even in an era of remarkable debuts, and the one-two punch of "Tones" plus his sophomore record "Now He Sings, Now He Sobs," might be unequaled in terms of the authority, vision, and maturity of the first two records as a leader out of the gate in the LP era.. (I'd be curious to hear who folks feel would also be on this particular short list of the first two records as a leader.)

That gig was apparently the Captain Marvel band's third gig. February 9, 1972. Not the Tribune's finest work. Where was Harriet?

That's it!

That original band definitely toured starting in late 1972. It played Baker's Keyboard Lounge in August 1972. The previous October in fall 1971, Chick appeared in Detroit at the Strata Concert Gallery for three nights with Stanley Clarke and Horacee Arnold. I dug up a flier for that gig in an archive while doing research on Strata for my book. I showed it to Chick and flipped out. He said that gig and that trio was essentially ground zero for what became Return to Forever. The revamped line-up with Clarke, Airto etc. played at LIvingston College in New Brunswick NJ in December, according to a newpaper clip I found. The band debuted at the Village Vanguard around the same time because in the Feb. 3 issue of Downbeat there's a review Here it is. (Note that accompanying review shows that Cecil Taylor just played in Detroit -- sorry I wasn't there, even if I would have been just 9 years old.)

Long profile of Anthony Davis in San Francisco Classical Voice published February 6, 2021. "Composer Anthony Davis imagines his freedom" https://www.sfcv.org/article/composer-anthony-davis-imagines-his-freedom

Gang -- I'm hoping many of you can join us virtually for the Jazz From Detroit: Virtual Music Marathon on February 27. A little over two years ago I received a Knight Foundation grant to partner with the Detroit Symphony Orchestra on a series of play-and-talk performances that I would host and which would feature multiple generations of Detroit musicians. We had originally planned on a May 2020 festival with performances on consecutive nights, but the pandemic of course forced us to postpone until November, when the surge in the virus forced us to again pivot. But the solution we've come up with is fantastic. The press release is below. I'm really proud of the artistic quality of the line-up we've put together -- Charles McPherson, Robert Hurst, Regina Carter, Marcus Elliot, Michael Malis -- and the film and audio production is really state-of-the-art. (We've been filming over the last few months.) —Jazz from Detroit: Virtual Music Marathon— DSO Digital Concert hosted by Mark Stryker celebrates Detroit’s landmark jazz legacy, Saturday, February 27 Feb 03, 2021 - Online festival experience features performances by and interviews with star-studded lineup including Charles McPherson with Randy Porter; Robert Hurst’s Black Current Jam; Balance: Marcus Elliot and Michael Malis; and Regina Carter and Xavier Davis duo - CUBE | Digital event on DSO Digital Concerts streamed exclusively on dso.org from 2–7 p.m. Detroit, (February 3, 2020) – This February, the Detroit Symphony Orchestra (DSO) continues its CUBE | Digital series on DSO Digital Concerts with a celebration of Detroit’s landmark jazz legacy. Jazz from Detroit: Virtual Music Marathon will be streamed exclusively on dso.org on Saturday, February 27 from 2–7 p.m. Hosted by award-winning author of Jazz from Detroit Mark Stryker, this five-hour event will feature performances by Charles McPherson (alto saxophone) with Randy Porter (piano); Robert Hurst (bass) and Black Current Jam; Marcus Elliot (saxophones) and Michael Malis (piano) performing as Balance; and Regina Carter (violin) and Xavier Davis (piano). The marathon event will also feature artist interviews conducted by Stryker. A complete schedule with exact set times will be published online the week of the event. “The musicians in the marathon reflect the full sweep of Detroit’s extraordinary jazz legacy,” said Stryker. “Alto saxophonist Charles McPherson is one of the heroes to emerge from the city's legendary bebop explosion of the 1950s, and he remains at the top of his game in 2021. Violinist Regina Carter and bassist Robert Hurst came to international stardom in the 1980s and ‘90s. Saxophonist Marcus Elliot and pianist Michael Malis are among the leading lights of Detroit’s scene today. Taken together, these special performers illustrate the past, present, and future of one of the greatest jazz cities in America.” Chris Harrington, Senior Director of Jazz and @ The Max for the DSO, said, “We're thrilled to partner with Mark Stryker on this one-of-a-kind virtual music marathon that celebrates Detroit's rich jazz legacy. Thanks to the generous support of the John S. and James L. Knight Foundation and Fred A. and Barbara M. Erb Foundation, we were able to capture these performances with our 4k ultra-high-definition cameras in Orchestra Hall—the venerable and acoustically perfect concert hall in Detroit where jazz has been presented for nearly half of its 100-year history. The DSO has the distinction of being one of few major American orchestras that regularly presents jazz on its mainstage and hosts a robust jazz education program that has nurtured the careers of some of the top musicians on the scene today, including Marcus Elliot and Michael Malis.” DSO subscribers and select donors receive access to all DSO Digital Concerts. Single tickets for Jazz from Detroit: Virtual Music Marathon are available for $9. The marathon will be available to watch live and then on-demand for two weeks. To purchase single tickets, please click here. All DSO Digital Concerts can be viewed exclusively on dso.org via computer, mobile device, or smart TV. Click here to view a full list of upcoming digital events. CUBE | Digital is supported by Peter D. and Julie F. Cummings, Ford Motor Company Fund, Community Foundation for Southeast Michigan, and the John S. and James L. Knight Foundation, with additional support from Quicken Loans and the Boston Consulting Group. For a limited time, pick up a copy of Jazz from Detroit by Mark Stryker as part of a special edition DSO Gift Box, which also includes DSO-branded items and Detroit-made food products. For more information, visit dso.org/shop. __________ JAZZ FROM DETROIT: VIRTUAL MUSIC MARATHON CUBE | Digital Saturday, February 27 from 2–7 p.m. Join us online for a marathon festival experience that celebrates Detroit's landmark jazz legacy hosted by Mark Stryker, award-winning arts reporter and author of Jazz from Detroit. The event will feature performances by and interviews with Regina Carter, Marcus Elliot & Michael Malis duo, Black Current Jam, and Charles McPherson.

Here is the original AARP profile by John Colapinto that sensitively details the course of the disease and its impact of Tony's life -- what he can do and what he can't, what he remembers and what he doesn't. Highly recommend folks read these, not only for a window into Tony' life specifically but also more generally the realities of Alzheimer's. .https://www.aarp.org/entertainment/celebrities/info-2021/tony-bennett-alzheimers.html

Interesting, though I probably don’t have to point out that I am the sort of high-interest, knowledgeable consumer who is absolutely willing to pay a premium for reissues that I don’t have to fucking EQ myself. In a sane universe, that would be the company’s responsibility.

Thanks for the insight, folks. Starting to search around and found the worst eBay value ever -- a version of this set is available for $75, except no box, no book and -- wait for it -- disc four is described as "broken and unplayable."

I have the two Columbia 2-CD sets from the early 90s title “The Duke’s Men Vol 1 and 2.” Nicely annotated but not crazy about the early digital transfers (CEDAR). So, what are the quality options on CD or vintage LPs for this material? I have the RCA small group stuff 1940-46 on French black and white LPs — off-the-charts great musically and sonically, but I’m looking for the the stuff on the Columbia family of labels in better sound.

I'm not a "45 guy" so it struck me as odd in context -- I came upon it after flipping through maybe 100 or more 45s all with a big center whole. So I noticed it right away. I have to get it digitized. I have a friend who can help. Don't hold your breath, but I'll put it on my to-do list. A lot of folks want to hear this -- including guitarist Anthony Wilson, who I'm sure you know is Gerald's son.

Kamala Harris was a board member of SF Jazz at one point. I think that her interest in the music has come mostly through her husband, but I could be wrong.

Yeah - thanks!

Hmm. I can see it in my post. Let me try again here:

Rara Avis I was flipping through the jazz 45s at Street Corner Music yesterday in Oak Park, Mich. (just north of Detroit), and came across this remarkable find. The first thing that caught my eye was that it doesn't require the standard 45 rpm adapter. Then I saw that that the artist was Detroiter Gerald Wilson. Then I saw that the tracks are rehearsals/studio chatter. Fantastic to hear Gerald in his prime at 45 years old in 1964 working with the cats on the music. David Brent Johnson reminded me of a discographical note included in the Gerald Wilson set on Mosaic for the January 8, 1964 session: “A promotional 45 single for radio (Pacific Jazz 100) was issued with edited versions of “Caprichios” and “Eric” with some studio chatter and section rehearsals. The master tape of the rehearsal sequences no longer exist.” I know that this copy came out of the collection of a former disc jockey. I assume the label put it out as promotional item that DJs could play on the air as a special feature -- akin to the practice of labels issuing promos of radio-specific artist interviews and related tracks. In any case, what a cool treasure. One other quirk -- one side is 45 rpm, the other is 33-1/3. Oh, yeah, I paid exactly $1.

Are we even sure it's a BN related box? Despite the thread title, Brad's initial post says he got no info from Scott other than "Joe Henderson." Granted, it's hard to think of a label oriented package other than BN that Mosaic could do as it would apply to Joe, but still, I'd like to find out what exactly they're planning before having a cow. Having said that, a straight up Joe as a leader on BN in the 60s (or even with the 80s included) would be a drag considering how available all of that music has been. Then having a cow is a reasonable response -- unless they hire me to do the liner notes, in which case such a box would be the greatest idea ever. .

Thanks all ...

This is extremely helpful, thanks. A quick follow up — is in fact the Queen material all or mostly broadcast recordings. Some appeared to be studio as I checked against discographies and YouTube, but it’s confusing when you get into the weeds. In terms of sound, I’m mostly interested in avoiding inferior digital transfers (CDs) or fake stereo or otherwise truly awful pressing (LPs). Normal bootleg sound for broadcast material is not a problem and I’m cool with just decent studio sound if it’s getting me material I don’t have.