Kevin Bresnahan

I saw him a few times but I believe that I had him sign this CD after a show at the Regattabar in Cambridge, MA.

I was lucky enough to Charlie to sign that for me.

Makes me wonder if it was just the mailer that somehow managed to affect these LPs? I figured that once I ripped off the cellophane, I'd be OK but even the LPs inside (of the 3 I opened) have had the same musty smell.

Looks like I'm not the only one who bought some LPs from that last Tommy's Jazz sale. Have you found any of your records to have a musty smell? I've never had sealed records have that before this. It is very odd.

I just picked up this CD. It is great stuff.

I wonder if Smoke is ever going to reopen. They closed for COVID and have yet to schedule anything. I hope they manage to reopen as it was a great venue the times I went. I was hoping to get another chance to go there in the future.

I'm going to skip that one as I really like the sound of the SACD. Plus, as I've said elsewhere, my days of hearing a gnat fart from across the room are well behind me, so I doubt that I'd hear any difference between the two versions. Now playing: David 'Fathead' Newman - Resurgence! (Muse). I picked this up in the recent sale. Sealed and yet still has a slight musty, basement-y smell - weird. I'm not really digging this one a lot. The recording sounds off, particularly on the piano. Oh well, you miss on some.

I listen to it on a CD. The complete sessions have been released on a single CD several times. I don't think I even have this on LP.

I would have bought this SACD if AP had added the additional material from the sessions that produced this great record. It just didn't seem right to me to buy an SACD that matched the LP version now that all of this material has been released on a single CD several times. Any digital reissue of this music should include all of that material or it's just applying LP's time limitations for no reason.

Does anyone know who mastered/cut this LP? I find that to be pretty important these days. I'm having trouble getting this post to look right. My words keep getting inserted into the quoted post even though I'm not typing inside the quote box.

I have both and you are correct that they are both very good. FYI - I fixed your link.

Gary Bartz/Sonny Fortune - Alto Memories (Verve). Killer band; Bartz & Fortune with Kenny Barron, Buster Williams & Jack DeJohnette. Having said this, it almost feels rote in places. I wonder why Verve never released this in the US?

Charles is 82 years old so he probably needs to limit his touring these days. His website shows that he is playing at the Bern Switzerland Jazz Festival at the end of this month: https://charlesmcpherson.com/event/bern-switzerland-international-jazz-festival/2022-05-24/ You could always fly there.

This YouTube video has the saw solo in full:

Denny Zeitlin - The Name Of This Terrain (Now-Again Records). It's a bit weird but Denny's description interested me. The vocals are definitely the weakest link here (as he says).Denny's Facebook post: Hi Everybody, I feel a little strange about announcing a “new” album recorded in 1969 whose release I resisted for many years. There’s quite a story behind it: Back in 1969, I was immersed in an electro-acoustic integration of jazz, rock, avant garde classical, funk, and free-form music. My long-time close friend, Bill Young, suggested we co-produce a project where I would write new music and lyrics, and my trio, with George Marsh and Mel Graves, would perform and sing the lyrics as a demo. Bill would try to interest a label in completing the album with professional singers, and supporting a tour. The project was completed in November,1969, and a custom run of demo LPs created, but no labels were interested, and my trio returned to instrumental explorations in concerts and recordings. “The Name Of This Terrain” remained on the shelf until 2003, when Bill Young’s death somehow led to a stack of demo LPs ending up in a thrift store, setting off a gradual low-level international buzz. I began receiving inquiries from fans, collectors, and record labels, wanting to hear, purchase, or release this album. I was taken aback at the prospect. Although I felt the music and lyrics were strong, none of us trio members had ever done any singing, and this demo album was never intended for release. I destroyed my copies, and for years successfully fended off inquiries. But every few years, Eothen Alapatt of Now-Again Records would circle back, enthusiastically proclaiming the album’s musical importance and the passion and emotional immediacy of the trio’s untrained vocal cords. In 2020, I was prompted to give the project a relisten, and to my surprise, was struck by the freshness of the concept, passion of performance, and spirit of adventure on the album, and felt “The Name Of This Terrain” was worthy of release, as long as the demo nature was made clear. Thinking back on that recording session over 50 years ago, I remember how much fun it was. The rapport with George and Mel was terrific, and there was plenty room for improvisation amidst my complex tunes and arrangements. There are totally free sections, including an utterly wacky “Free Piece,” where we first recorded a free improvisation leaving a lot of space, and then, each getting a head phone feed of the music, free associated to phrases from a dozen books opened to random pages. The instrumentation: Denny Zeitlin: Acoustic Piano, Hohner Clavinet, Farfisa Organ, Custom Sound Generating and Altering Devices, Tambourine, Melodica, African Thumb Piano, Lead Vocals; George Marsh: Drums, Percussion, Backing Vocals; Mel Graves: Acoustic Bass, Electric Bass, Custom Sound Generating Device, Backing Vocals The album can be heard in its entirety on You Tube (ad free): www.dennyzeitlinterrain.com And here’s link to a 10 page booklet with photos, lyrics, and liner notes: https://tinyurl.com/terrainbooklet The street date for the LP and CD was May 6. If you’d like hard copy: https://tinyurl.com/2br4wvhe I hope you’ll give this music a listen.

Michael Cuscuna has no idea why Bob may have mixed down that saw solo nor does he know who played it.

I thought I read somewhere that Bob Belden mixed it out because he hated it... or was it because Lee hated it? Belden seemed like a pretty straight shooter with regards to the artists' intentions, so it's not like him to do something that the artist didn't want.

Given Mingus' reputation, it seems weird that he would allow that to happen.

David "Fathead" Newman - It's Mister Fathead (32 Jazz). 4 LPs on 2 CDs.

Duke Ellington & John Coltrane (Impulse!). I picked up the latest LP from the Acoustic Sounds Series on Record Store Day as this is one of my favorite Coltrane records, not far behind "Blue Train". This new high end (and high priced) LP release, while very nicely done, doesn't seem to sound a whole lot better than my old analog 1997 cut by Ron McMaster. I think at this time I should formally stop "upgrading" any old LPs I already have on my shelf. My ears just can't hear much of a difference anymore. It should save me some money.

That one is one of my favs too. You can just feel the emotion in their playing. Ben Webster & Gerry Mulligan's "Chelsea Bridge" is like that too. I often feel like standing up a clapping like I'm at a Jazz club at the end of Wayne Shorter's solo on the title track of "Free For All". I guess that's emotional.

I still hate to listen to Harry Chapin's "Cat's In The Cradle". It used to upset me a lot. When my daughters were very young, I had a job that had me on the road about 50% of the year, so this song's lyrics really hit home with me for a while. My relationship with my daughters is fine now, but there was a short time when I felt like my youngest didn't know who her father was. It's the main reason I quit that job. On the other side of the coin, I love to hear the Def Leppard song, "Rocket". When my first child was born, this song was near the top of the charts and I distinctly remember cranking it up and dancing with our golden retriever Abbey when I got home from the hospital. It brings back a great memory.

Ordered a copy for myself. I wish he would tour through Boston.

Wow - I did not know that Barry Altschul was still playing. I haven't seen his name on a record in a decade at least. This website says it was recorded " at the Samurai Hotel in Astoria, NY". According to Wiki, he taught in Turkey 2001-2006, but they go on to say that he founded the Toucy Jazz festival in Yonne, France in 2009, so he may still be living there. Hard to believe that he's already 68 though. Damn, we're getting old.

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