Kevin Bresnahan

I broke down and bought the CD set. I don't know why, as the 2 LP nor 3 CD sets were never favorites and rarely make it onto my players but I had a credit at Amazon so I figured, "Why not".

I had that LP as well as a 6 eye stereo copy. I preferred the stereo LP. Then I managed to pick up a copy of the Classic Records 33 RPM LP (don't know if it is 180 or 200 gram). It sounded much better to my ears (at the time).

New (old) interview with Jackie McLean has been posted: https://ethaniverson.com/interviews/interview-with-jackie-mclean-by-steve-lehman/ In it, Jackie goes into some detail about this unissued session. >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Steve Lehman: The last thing I wanted to ask you about…because I mentioned the session in 1968 with Tyrone Washington and Norman Connors. And how it was free but you were conducting things, and this never got released. Jackie McLean: Yes. Right. SL: This idea of conducting, and groove and giving cues and stuff, you did it actually in class a few times. JM: Yeah, uh huh. SL: And it was really like a wake up call for me. Because, playing in Anthony Braxton’s group…not to simplify it, but, in some ways, his music is really based on a pretty intricate set of cues that we all can give each other and that he can give us, so that anything can happen. We can all be playing a piece together, if he wants. Or there can be three different pieces going on at once. He always talked about the Coltrane Ascension date of being the root of that, of John kind of directing… JM: Directing, yeah… SL: So, when you said that you had done it too, it was kind of like, “Oh, ok, so there’s an evolution.” JM: Right. SL: So, if you could just talk about what was going on, because I don’t want to misquote or anything. JM: Well, it’s funny, that’s where I’m going, like in a direction like that. I want to get my rhythm section rehearsed well enough now so that they can follow me somewhere and do some things with me under direction. So, in other words, like some signals, preset signals to go into a particular thing, you know. Or where it would be to have it so that the drums set-up a rhythm and go from there. Or whatever. But, that day, when we did that record date with Tyrone, Tyrone wrote one or two charts, and Woody Shaw wrote one or two, and then Bobby Hutcherson. And then I wrote some sketches that would be done and some notes that would be done by direction. And then we had some ideas set that we would do tempo here. And then I’d direct them to drop out and let the melody hang, like one horn at a time. And then I’d point to somebody to come in, whether it would be the bass, you know. It was great, man. SL: Yeah. JM: It was like I was improvising using them as an instrument like, you know. And it was great. It was fun. And I have never heard that session. SL: Oh really? JM: Never heard it. SL: I hope it sees the light of day someday. Mr. McLean, this has been a real thrill.

I've never heard of this record label, never mind this CD. I don't think I've ever heard of Darryl Hall or Bernd Reiter. I assume that these two are not in fact "New York All-Stars"?

"Lazy Afternoon" is one of my favorite ballads.

The Beatles "In Mono" CD set was released to much fanfare as being a Limited Edition. Many people, myself included, pre-ordered it at full list price. After it sold quite a bit, it was suddenly no longer a limited edition and the prices plummeted. So I paid $229 for a box that less than a year later was selling everywhere for closer to $140, with some places selling it for under $100. The Beatles on Capitol and Blue Note fall under the Universal Music umbrella. I don't trust their "limited editions".

Blue Note lists stuff as sold out all the time and then you'll be in a local store and see the LP on the shelf. Blue Note's web store is the first to list any LP as out of stock. One of the worst web stores I've ever used, second only to the UMusic web store, Blue Note's parent company. I highly doubt that this will be limited in any way. If it sells, they will make more. Don't let them fool you.

Bob Seger & the Silver Bullet Band - Night Moves (Mobile Fidelity). I was never big on Mobile Fidelity's LPs, as I never thought that they would sound that much better than the "regular" LPs of the day, but I have to say that this one sounds pretty darn good to my crappy old ears. I did have an original Wally when I got this and since that Wally LP is long gone, I assume that even when my ears were working better, this sounded better.

Adding that Lou Reed's voice was just as shot as Gabriel's when he tried to cover "Solsbury Hill".

Just finished - Joe Henderson - In & Out (Blue Note). Old RVG pressing. Now playing Peter Gabriel/Various Artists - Scratch my Back - I'll Scratch Yours (Real World Records). I prefer when everyone scratches Peter's back. Peter's voice is almost gone by the time this record was made.

I was driving in my car yesterday listening to the Real Jazz channel on SXM radio and a few seconds into a sax solo, I thought, "That's Eric Alexander". I looked at the screen and saw that it was Joe Chambers playing "Evidence". When I got home, I looked it up. Joe Chambers playing Horace Silver tunes with Eric Alexander on Tenor. I can "hear" Eric Alexander fine. This attitude that he has no originality doesn't work for me.

I don't believe anything Blue Note/Universal says about limited editions. It's not a licensed recording. They'll be limited to how many they can sell until they stop selling.

https://en.thelostrecordings.store/en/collections/store/products/getz Funny how a literal translation can come out screwy: "As if time had stopped, the hesitant delicacy of Astrud's white voice, set in the misty, iridescent tones of Gary Burton's vibraphone and magnified by the aerial counterpoints of Stan Getz's saxophone, recaptures the freshness and innocence of the mythical 64 recording." Yes, blanche translates to white but voix blanche translates to something completely different. In fact, it roughly translates to toneless or bland. Which is worse - the poor translation or the poor choice of the French descriptor?

How is Sony putting this out when Getz was under contract to Verve at the time? Verve issued recordings on both sides of this date, including a live date from Paris 9 days after this one, so it's unlikely he was free agent here. I wonder if that "Distribution Sony Music Entertainment" is just there to cover up the bootleg nature of this release? I have to give them credit though - it is a nice looking boot (if that's what it is).

The Sirius/XM Jazz channel has been playing several of Watts' Jazz recordings. The stuff with the Danish big band was just OK. The quintet stuff was a little better.

Maybe I missed a discussion on it, but why did Monk's estate get the rights to this recording? It was issued by 3 different labels in 1987 (Dragon, DIW & Secret) and then went out of print until Thelonious Records put it out in 2002.

I've had good luck at Euclid and not so good luck. Their inventory isn't live, so there is a chance you could order a CD from the website and find out that someone already bought it off the shelf.

My copy just came in today. Great shape and it plays very clean. Bass is a bit on the weaker side, typical of the era. Great music though. Thanks for recommending this. It took a while, but I finally got the chance to hear it tonight.

What's weird about this trio recording is that the next day, the quartet recorded "The Last Time We Saw Paris", so it's not like Desmond was somewhere else... unless Desmond headed to Paris a day early.

Whenever I see this cover or play this music, I can't help but think of what Kenny was going through when he made this.

Sorry - I'm not digging Joe's playing here. That synth sound just sounds like he should have a monkey dancing nearby.

Of course, the two Japanese reissues I've been looking for, Lou Donaldson's "Here 'Tis" (UCCQ-5088 with "Blues #4") and John Patton's "Blue John" (UCCQ-5008 with the 5 extra tracks) and not in these batches of releases.

I'll check it out when they hit CD Japan. Maybe I'll pick up Tyrone Washington's "Natural Essence" for the 4th time.

My oldest daughter just dodged a Covid bullet. Her school had a mandatory in-person "personal development day" and the person sitting directly behind her, sans mask, was later diagnosed Covid-positive. My daughter's test result came back negative. She is very relieved.

Looks like a 1977 Honda CB-400F Super Sport. I had one of those for several years. It was a fun bike. My wife might've looked something like that back then too. You can tell it's a 1977 because of the higher handlebars. The older models had "cafe racer" style handlebars.