DMP

Lots of problems at EMI, that's no secret. (There was another article about their troubles in the Wall Street Journal recently.) Blue Note reissues might not even be on their radar screen. But I do see some Willie Nelson sings standards thing out on the label, with Norah Jones involved; maybe that says it all?

Albert Ayler, "Love Cry." Figured I couldn't put it off much longer.

There's a CD of Blue Note singles, although I've always suspected there were a couple of ringers in there.

Geore Shearing Quintet

Wes Montgomery on Riverside - 100%; on A&M, one CD.

Les McCann recorded with an organist at least 3 times on Pacific Jazz.

Will Friedwald, quoting (by way of Arlene Francis!!) Sinatra, in today's "Wall Street Journal" - "I knew Lester well, we were close friends and we had a mutual admiration society."

In what must be a first, Ramsey Lewis has a letter in today's "Journal" responding to that article.

Well, in terms of the major labels, the Ghost is (unfortunately) correct. Unless it involves Miles Davis, the big guys seem to be out of the jazz reissue business.

McCoy Tyner, "Today and Tomorrow" (always thought this was a curious album - like they salvaged what they could from 2 sessions) and Stan Getz's "Apasionado" ("...with special thanks to Herb Alpert who showed me aspects of recording I'd never experienced before.")

A brief review of this in today's "N, Y. Times."

When my special order of "Bundle of Joy" and "Liquid Love" hadn't shown at my local shop, remembering this discussion I picked it up today. It's a sleeper! One thing that's always struck me about Laws' tenor playing is that it's a completely different conception from his flute style; you'd never guess it was the same person.

There may have been a couple more tracks from "Hits" (not the above 2) on one of those Columbia double LP's (which also included more from "Time and Place"). I suggested to Mosaic that it could make a nice single, and the reply was that they were considering it if they couldn't get their proposed issue of the "Time" sesion out.

Andre Previn's theme for "The Aquanauts."

Right, on "Blacknuss," and it was a staple of his live shows there for awhile. I was out of town and missed all the television Jackson tributes (which, apparently, were non-stop), but I did catch a minute of an interview with Al Sharpton, who said that if you'd go to Jackson's house you were likely to hear classical and jazz, 2 of his favorites. Never heard THAT before.

Pretty sparse I'd imagine. Harold Mabern, Johnny Hammond (Smith) and Ramsey Lewis are the only ones I can think of off the top of my head...

I've bought several titles from iTunes - they have a pretty good selection. Of course, you don't get those covers...

Max Roach, "Quiet As It's Kept," mostly for the local (Pittsburgh) connection.

My set arrived this morning, hard to believe. It's really good! A nice package, and the music is excellent. I heard that edition of the Evans' trio a couple of times and (no offence) was underwhelmed. (Harold Danko makes some similar points in his notes.) This is far more involving than what I heard in person.

Listened to some of the samples on that site... Groovy!!!

That's right, "Early Bird." There was a second one called "A Handful of Modern Jazz." The Red Norvo/Parker/Gillespie sides were also on one of the two. Score a big one for the supermarket labels!

Those budget labels had their moments. The first reissue of Charlie Parker's "Dial" material (I think, correct me if I'm remembering this wrong) was around 1960, on something called "Baronet." (Hard to believe these Parker recordings were out of print just a few years after his death, but lots of material that we now take for granted in the CD era had disappeared by then.)

The second one, on Verve. Much better than its reputation. Getz seemed to thrive with stong drummers!

One that I like that doesn't get mentioned much is the album with Bill Evans. The conventional jazz wisdom on this is that the session doesn't jell, and I know there's a story (probably several!) behind it, but I've always enjoyed it. The opener, with its stop-time chorus and strong drumming, is one of Getz's most exciting performances.

Feldman is also a standout with the Adderley band - as a pianist and composer.