Mark Stryker

Gang, I've got the two Miles Davis Blue Note LPs in '70s pressings that descend from the lineage of "electronically rerecorded to simulate stereo." The sound of these records is inferior and I'm going to upgrade as the opportunity arises. CD reissues are a good inexpensive option. I suppose big bucks for original pressing LPs is another way to go. However, I'm curious if anybody has the United Artists twofer of this material that came out in 1971. I've seen this around in used stores and am curious about the source of the master's used in pressing and whether it's any better or just the same as the Blue Note LPs I have of similar vintage. Anybody have any thoughts? https://www.discogs.com/Miles-Davis-Miles-Davis/release/2465150

Per Gene Santoro's MIngus biography, the original deal he signed with Columbia was for only two LPs.-- Santoro writes the deal was actually for two records of Jelly Roll Morton compositions but Mingus changed his mind. Additional context from the book: Mingus received $2,336 in royalties from Atlantic in the first quarter of 1960. In August of 1960 he received $905 in royalties from Columbia, though it's not clear what time period that check covered. The book also says he received later in the year a "quarterly royalty statement" from Columbia for $790. Those royalty checks together add up to $4,000, which according to inflation calculators is worth $33,000 in 2018 dollars. That's not bad money. On the other hand, he apparently still actually owed Bethlehem $,5,304 on their advances.

Good God ...

Sort of depends on your definition of "amazing." Pianists with extensive classical training tend to have active and independent left hands with more facility and the ability to play counterpoint. Tatum, Roland Hanna and Brad Mehldau come to mind. That's a very different notion of "amazing" than, say Silver or Weston, whose distinctive left hands are used in the service of their own (sometimes idiosyncratic) sound world. One's not better than the other, but we're talking about difference roots and different aesthetics. I mean, Tommy Flanagan had an amazing way of orchestrating details on the piano that brought his left hand into full play, even though he was "right-handed" pianist in terms of letting this right hand carry the melody ala Bud. Complicated question.

Thanks for the info guys. If anybody knows more, please chime in,. Moderators: I accidentally created this thread in the wrong place, so please feel free to move to Discography.

This record just made it on to my radar. Lord disocgraphy says 1956, which would make by a couple of years the earliest Roland Hanna on record. Yet I don't see it listed in discogs, and I'm confused as to why I didn't pick it up some months ago when I last was looking into Hanna. Anybody know anything about this or have a copy that gives any clues about exactly when it was recorded or mentions Roland in the liner notes? The Seldon Powell Sextet : Jimmy Cleveland (tb) Seldon Powell (ts) Sir Roland Hanna (p) Freddie Green (g) Aaron Bell (b) Osie Johnson (d) New York, 1956 Woody'n you Roost LP2220, Fresh Sound (Sp)FSR-CD93 [CD] She's funny that way (jc out) - - 11th hour blues - - Button nose - - Missy's melody - - I'll close my eyes (jc out) - - A flower is a lovesome thing (jc out) - - It's a crying shame - - Note: Fresh Sound (Sp)FSR-CD93 [CD] titled "Seldon Powell Sextet Featuring Jimmy Cleveland"; see flwg session for rest of CD.

I'm trying to determine how many LPs were made in the 1955-60 that were specifically named for Detroit and/or intended to highlight the city's increasing presence on the national scene: What all is out there beyond these five? Kenny Clarke, "Jazzmen Detroit" (Savoy) Thad Jones, "Detroit-New York Junction" (Blue Note) "Keepin' Up with the Jones" (MGM) The two LPs that were both called "Motor City Scene" -- one led by Pepper Adams on Bethlehem and one led by Thad on United Artists.

Tha Ah, thanks for this, and thanks to all who weighed in. MS

Hey, thanks. Saved me a mistake in the book. I had it "Artists" up until this moment.

Hey -- very helpful. Much obliged.

Can anybody shed some light on who the bass player is on Gerald Wilson's 1947 masterpiece "Dissonance in Blues"? My "Sounds of Swing" LP lists the bassist here as Robert Budd, but as near as I can figure, there was never any bassist by that name. Tom Lord Discography says its Red Callender, which makes sense from a time/place perspective, but Lord is by no means infallible. So If anyone has another source -- perhaps the personnel on a Chronological Classics? -- or any other helpful conjecture, I'd be grateful.

I own "Super Chief," the four-volume Lester Young Story on CBS two-record sets, the French CBS Basie series, the Mosaic Box and the CBS CD box. I can't seem to get rid of any of them. Not that I really want to, but I'm at the point in my life where I am shedding duplicates in favor of acquiring stuff I don't have in any form. But I can't seem to part with any of these. I guess I win, but it kinda feels like I'm losing.

"Super Chief" included six tracks never previously released on LP -- "Shout and Feel It," "Where Shall I Go," "I Ain't Got Nobody," "Goin to Chicago Blues," "Who?" "Upright Organ Blues." I just checked recently and didn't see those tracks duplicated on the French CBS series and they are not on the more recent CD box. Am I overlooking them?

Gang: Kenn Cox was black. All of the members of the Contemporary Jazz Quintet in Detroit were black, except drummer Danny Spencer.

Thanks guys. Appreciate it. If any others come to mind, please chime in.

Who are the white musicians who recorded as leaders for Blue Note in its pre-1980s revival era? I can think of Art Hodes, Sheila Jordan, Jutta Hipp, Gil Melle, J.R. Monterose. Any others I'm forgetting?

I think the font is Peignot rendered in bold.

Great recording. I own a LOT of Steve Lacy, but this is one that I go back to over and over.

The key change in Byrd's trumpet playing in this period came about because he was studying in 1958-60 with two of the great classical teachers of the era at the Manhattan School of Music, William Vacchiano and the elder Joe Alessi. I don't know the specifics in terms of trumpet technique, but that's why his sound picked up so much strength, roundness and warmth within the brassy sheen. His chops would start to deteriorate soon after -- a long slide and a story for another time. But at Byrd's peak, 1958-61, he had one of the great trumpet sounds. This is amazing.

Gang, I'm downsizing and am selling the following Mosaic box sets. All are on CD in pristine, like-new condition. All prices include US shipping. The Complete Peggy Lee & June Christy Capitol Transcription Series, Five discs. $100 The Complete Kid Ory Verve Sessions. Eight discs. $125 The Complete Pacific Jazz Joe Pass Quartet Sessions. Five discs. $100 The Pacific Jazz Bud Shank Studio Sessions. Five discs. $175

Thanks for the clarification. Was going from memory and and forgot there where two different dates represented.

Dropping in to add a quick footnote to the Boston date. The trumpet player with Bird here, Herbie Williams, eventually made his way to Detroit, where he made a living during the '60s as a Motown session cat. He led some sessions for Motown's jazz subsidiary Workshop that were supposed to yield an LP that in the end was never released. In later years he taught in schools in Detroit and was an important mentor for some musicians, particularly bassist Rodney Whitaker when he was in high school.

Lee's scats EXACTLY like he plays. His second chorus starting around 4:50 is exceptional -- melodic invention elevates and his eighth notes lock into the beat a little more so the swing goes up a notch too. He was 88 when this was recorded. I hope I'm this feisty at that age.

Good Messenger chronology here: http://www.jazzdiscography.com/Artists/Blakey/chron.htm