Kevin Bresnahan

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.

Get all 22 of the Beatles 3 inch CDs in a special box - only $500! https://www.discogs.com/release/7037181-The-Beatles-CD-Singles-Collection

I still have at least one from the DMP label. I think they gave them away when you bought one of their regular CDs. It was shrink-wrapped onto the back. I had a few of the Beatles 3 inch CDs but I sold them years ago. They are probably worth more now but I seem to remember selling them for crazy money even 20 years ago. The thing was, the music on those Beatles 3 inch CDs was digitally identical to what was on their regular CD release, so all these people are paying for is the collectible. I don't collect things, I collect & listen to music.

Joe Farnsworth - It's Prime Time (Eighty-Eight's). Joe playing with his usual cohorts (Eric Alexander, Harold Mabern, Dave Hazeltine, Jim Rotondi) but with Ron Carter on bass and guest appearances by Benny Golson (3 tunes), Curtis Fuller (2 tunes) and a rare appearance by his brother John. The title track has Joe going for a "Sidewinder" feel. Golson's "Stablemates", which seems to be played at every one of his recording dates, is actually a drum feature for Farnsworth. An enjoyable hard bop date.

While that sounds sleazy, is there a specific reason why these artists wouldn't have wanted their phone numbers more widely known to a producer in the record industry?? Was Charters offense more against Koester than the artists?

Art Pepper - Unreleased Art Vol. III - The Croydon Concert (Widow's Taste)

I have duplicates, triplicates and quadruplicates galore. I have started paring them down but I still do stupid shit like, "Well, this CD has the alternate takes" when I know damn well that I don't ever play those alternate takes.

I saw deaths in the Germany/Sweden plot and missed that it switched to cases in the US plot. That's still a ton of new cases due to the holidays. My wife works in a school and in January/February of this year, the COVID cases resulted in a huge number of teacher and student absences. At one point, about 15% of their teachers were out. In some classes, 80% of the students would be out due to the spread after the holidays. I'd venture to say that if you can figure this out, the CDC would like you to come work for them. This kind of stuff requires all kinds of analysis. There are doctors & scientists who do this for a living and they can't figure it all out so we're not going to figure it out here, that's for sure.

In my opinion, both of these curves show an uptick of cases due to a lack of masks. Note the dates. These upticks in deaths are correlated to holidays. Everyone takes their mask off at the Thanksgiving and Christmas dinner table. Everyone that I know at least. To put numbers to it, if that Thanksgiving-New Years bump in 2021 wasn't there and that curve was essentially flattened out, there are ~250 additional deaths per 100K due to people taking their masks off at the holiday table. That works out to ~250,000 additional deaths. Actually, looking at the Germany/Sweden graph, it lines up similarly. Sweden has an additional national holiday celebration on January 6th FYI.

Maria Schneider Jazz Orchestra - Data Lords - The Natural World (Disc 2). I'm finally getting around to spinning these CDs. I like this second disc a bit more than the 1st one.

I wonder if Cannonball Adderley got some of those "A Cannonball Adderley Production" Riverside tapes like he did a few of his own dates? Maybe that's why OJC hasn't reissued them? Capitol won't issue them, that's for sure.

I think there are a few that didn't make it to CD. Didn't we used to have a list of them somewhere around here? I don't think this Red Rodney LP was ever issued on CD... even in Japan:

James Carter & Cyrus Chestnut - Duets (Atlantic). Although promos were made and sent to radio stations, this session was apparently never released in the US. I see on discogs that a limited edition of 3,000 CDs was done for FNAC in France. I have the US radio promo. Nice date.

In my experience, there were very few OJC LPs that failed to make it to CD. As Colin mentioned, some only showed up on a 2 LPs on 1 CD compilation, but most all of them came out one way or the other.