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Release date May 7: EL CHAKRACANTA, Stefano Bollani's new dynamic live CD with two original works of his for piano and orchestra and two tangos by Ástor Piazzolla and Horacio Salgán, will be internationally released by Bollani's label ALOBAR on 26th March 2021. Bollani's Concerto Azzurro (2017) and Concerto Verde (2019), works of classical composing, each structured in four movements of distinct character of melody and rhythm, are informed by Bollani's jazz genius, favouring moments that disobey the rules that demand that a pianist shall stick to the rigorously immutable score. Concerto Azzurro (Azure Concerto) was commissioned by Kristjan Järvi and the MDR Leipzig Radio Symphony Orchestra. Azure is the colour of the fifth chakra, associated with self-expression and communication. Concerto Verde (Green Concerto) refers to the colour of the fourth chakra, associated with love. Both concertos were recorded live in Buenos Aires: Azzurro at Centro Cultural Kirchner on 17th June 2018; and Verde, next to Piazzolla's Libertango and Salgán's Don Agustin Bardi, at Teatro Coliseo on 19th June 2019. With Bollani (piano) and the Orquesta Sin Fin, directed by Exequiel Mantega. The CD comes in an exquisite 6-side DigiSleeve with an 8-page booklet graphically designed by Italian artist Umberto Giovannini.

Release date May 14: Release date June 15:

Release date April 30: Strut present the first ever international reissue of a live session for Black Fire by the late, hugely respected baritone saxman and flautist, Hamiet Bluiett, ''Bearer Of The Holy Flame'', recorded at Sweet Basil in New York in July 1983. Tracklist: 1. FOOTPRINTS 18.49 2. EBU 8.10 3. SONG SONG 8.35 4. HEADLESS BLUES 8.00 5. I LL CLOSE MY EYES 7.54 6. GUMBO (VEGETARIAN STYLE) 6.40

Release date June 15: Release date May 14:

Release date May 21: (3-CD set) Sacred Ceremonies represents a meeting of three true masters of creative music. On this three-CD boxed set trumpet legend Wadada Leo Smith joins forces with the ever-versatile electric bassist Bill Laswell and the late, great master drummer Milford Graves in three separate sessions. The boxed set comprises a duo CD of Wadada Leo Smith with Milford Graves, a duo CD of Wadada Leo Smith with Bill Laswell and a trio CD of Wadada Leo Smith with both Bill Laswell and Milford Graves. Tracks: Disc 1:, 1. Nyoto, Parts 1 - 3, 2. Baby Dodds In Congo Square, 3. Celebration Rhythms, 4. Poetic Sonics, 5. The Poet: Play Ebony, Play Ivory (For Henry Dumas), Disc 2:, 6. Ascending the Sacred Waterfall - A Ceremonial Practice, 7. Prince - The Blue Diamond Spirit, 8. Donald Ayler's Rainbow Summit, 9. Tony Williams, 10. Mysterious Night, 11. Earth - A Morning Song, 12. Minnie Riperton - The Chicago Bronzeville Master Blaster, Disc 3:, 13. Social Justice - A Fire for Reimagining the World, 14. Myths of Civilizations and Revolutions, 15. Truth in Expansion, 16. The Healer's Direct Energy, 17. Waves of Elevated Horizontal Forces, 18. An Epic Journey Inside the Center of Color, 19. Ruby Red Largo - A Sonnet

Release date May 28: In the mid-1960s, as pop music acquired a greater sophistication and maturity, artists began to make more ambitious musical and conceptual statements. In the search for new ideas, pop began to find inspiration along the spectrum of classical music - from Stockhausen to Sibelius - and from artists who inhabited the outer reaches of jazz, drawing even on the classical music of Northern India with it's roots in the antique past. The albums produced by The Beatles at their creative peak; Rubber Soul, Revolver and Sgt. Pepper; almost everything by The Mothers of Invention; The Byrds' Fifth Dimension; The Pink Floyd's debut, The Piper at the Gates of Dawn; The Grateful Dead's Anthem of the Sun; the early works of Can, Jefferson Airplane and Soft Machine; all were enriched by the assimilation of techniques and procedures appropriated from the pioneers of art music. Frank Zappa did more than anyone to open the door to the modernist world; his expansive music informed by Stravinsky, Webern, Schoenberg, Messiaen, Boulez and most notably Edgard Varèse, whose work Zappa encountered in his youth, and spent his life championing. Paul McCartney and John Lennon increased their creative palettes by borrowing from the strange new musical universes of Stockhausen, Berio and Cage while George Harrison's life was changed by Ravi Shankar, to whose music he and the other Beatles were feverishly introduced by David Crosby and Roger McGuinn at a Benedict Canyon LSD party in 1965. For the "Fifth Beatle", producer George Martin, the passions were the French Impressionist composers Debussy and Ravel, from whom he claimed to have learned to "Paint in Sound"; for Phil Lesh of The Grateful Dead it would be the music of Charles Ives ("It sounds like the inside of your head when you're daydreaming"). Brian Eno directly answered Erik Satie's call for "music that would be a part of the surrounding noises" with his ambient Music for Airports, while Captain Beefheart, Robert Wyatt and Lou Reed would all surrender to the liberating spirit of Ornette Coleman. In the realm of electronics and musique concrète, the tireless experiments in tape-manipulation by Daphne Oram and Pierre Henry found expression in radio, television and on stage. In cinema, Stanley Kubrick's masterful use of Bartok and Liszt vindicated his stated preference for the use of pre-existing music over original score; while in Altered States, Ken Russell blew our minds by taking the relationship between music and image to a new sensory level; aided by a wild electronic score that included Pierre Henry's Veil of Orpheus. The full 27 minute version of Henry's Orpheus, the first major work of symphonic concrète music is but one of the historic features to be found in this presentation. A Revolution In Sound also includes the premiere recording of Stockhausen's monumental Gruppen for Three Orchestras, with Pierre Boulez, Bruno Maderna and Stockhausen himself conducting; Beecham's beautiful 1955 account of Sibelius' Incidental music from The Tempest; an exhilarating recording of Stravinsky's ballet Agon by Hans Rosbaud with the SWGR, a hugely influential piece, a triumph for the composer; and from before the creation of the BBC Radiophonic Workshop, the "Radiophonic poem", Private Dreams and Public Nightmares, a quite unprecedented collage of manipulated voices and sound effects assembled by Daphne Oram and Desmond Briscoe: a challenge for radio listeners in 1957. As the producer, Donald McWhinnie stated in his introduction, 'You may detest this programme, but I hope you won't dismiss it. Certainly nothing like this has ever come out of your loudspeaker before'

I always thought your avatar was of Brooks.

Loving this:

OK, that makes sense; thanks. Chico Hamilton With Paul Horn: Porch Light, Autumn Landscape, Uyawda (probably Uganda), Lolly Pop: from "Chico Hamilton Trio." Pluck It, Katz Up, Crazy Cats (prob. Classical Katz), Lord Randall: from "Zen: The Music of Fred Katz." The Great Chico Hamilton Featuring Paul Horn: Blues On The Rock, Street Of Drums, Skinned Strings, Nutty: from "Chico Hamilton Trio." Montuna, Suite For Horn: from "Zen: The Music of Fred Katz."

https://www.nytimes.com/2021/03/28/arts/television/doc-severinsen-pbs.html

Are the two Chico Hamilton albums on Crown replicated elsewhere in his discography?

Discussion moved to this thread: http://www.organissimo.org/forum/index.php?/topic/86290-harold-land-westward-bound/

Release date June 18: Contains previously un-issued live recordings of unsung tenor saxophone hero Harold Land from The Penthouse in Seattle from 1962, 1964 and 1965 with stellar musicians including Hampton Hawes, Carmell Jones, Buddy Montgomery and Philly Joe Jones. Released in partnership with the Harold Land Estate, the remastered audio was captured from direct transfers of the original Penthouse's tape reels. Westward Bound! includes an extensive booklet with rare photos; essays by jazz historian Michael Cuscuna, co-producers Zev Feldman and Cory Weeds, and pianist Eric Reed; plus interviews with tenor saxophone giant Joe Lovano and the legendary saxophonist Sonny Rollins. About the Artist: Harold Land was a legendary hard bop/post-bop tenor saxophonist. Land developed his hard bop playing with the Max Roach/Clifford Brown band. His first recording was as the leader of the Harold Land All-Stars, for Savoy Records in '49. In '54 he joined the Clifford Brown/Max Roach Quintet, with whom he was at the forefront of the hard-bop/bebop movement. He moved to Los Angeles in '55 and co-led groups with Bobby Hutcherson, Blue Mitchell, and Red Mitchell. In the early '80s through to the early '90s he worked regularly with the Timeless All Stars; a group sponsored by the Timeless jazz record label. The group consisted of Land on tenor, Cedar Walton on piano, Buster Williams on bass, Billy Higgins on drums, Curtis Fuller on trombone and Bobby Hutcherson on vibes. Over his career he was a sideman on albums from Roy Ayers, Bill Evans, Ella Fitzgerald, Freddie Hubbard, Thelonious Monk, Wes Montgomery, Donald Byrd, Dinah Washington and countless others. Land was a professor at the University of California, Los Angeles and joined the UCLA Jazz Studies Program in 1996 to teach instrumental jazz combo. ''Harold Land was one of the major contributors in the history of the jazz saxophone,'' said jazz guitarist Kenny Burrell, founder and director of the UCLA Jazz Studies Program. Track Listing: Vendetta Beep Durple Happily Dancing / Deep Harmonies Falling My Romance Triplin' The Groove Autumn Leaves Who Can I Turn To Beau-ty Blue N' Boogie

Congrats, Allen. I hope this gooses sales.

https://www.namelesssound.org/nameless-20-years-of-sound/edition-3-alvin-fielder

Randy, you may be thinking of Dex's "Swiss Nights Vol. 1" album. On the CD, the spoken intro for "You've Changed" appears at the end of the prior track ("Wave"). I want to thank you for including the "vertical space" at the end of your initial post. It was a reminder to me to not read already-posted replies before contributing my own impressions.

Very enjoyable set! 1) I like her sultry singing. I like the arrangement, and the tenor (though he does go on a bit too long). Could've also used another soloist, so it doesn't seem like the tenorist is hogging the spotlight from the singer. 2) "You've Changed," in the Dexterish vein. Forceful, nice vibrato, tells a story (and not the usual "You've Changed" story). I also appreciate that he didn't spit out torrents of notes. Don't know who this is, but I approve. Good trumpet, too, good recording. 3) Tenor-flute combination! Nice bass. Oh man, this hits my buttons. Something about this seems British, but I can't tell you what. And it fits onto a 45! Is it Abdullah Ibrahim? 4) Another nice one. Nice mood, pensive atmosphere. I have this, or at least this composition. Held my interest throughout its length. Pianist sounds like Herbie. 5) A little too long, takes a little too long to get going. My guess is Woody Shaw on trumpet. 6) Nicely recorded bass. Interesting instrumentation. Ah, "Warm Valley." Can't tell who's humming, bass or vibes. Nice arrangement. Drummer was good and supportive. 7) Another one I think I have. Kenny Burrell on guitar. Very democratic in meting out of solos. They must be friends. 8) "Baltimore Oriole." I don't know who is the singer, but she has a nice voice. 9) Pat Martino, "Sunny" from "Live!" on Muse. Just great stuff. Pat was burning back then. 10) Is the trumpeter Jack Walrath? George Adams on tenor? Dannie Richmond on drums? Sounds like early '80's. If I had to guess, having never heard it, this is "Feel No Evil" from Dannie Richmond's "The Last Mingus Band A.D." (Which would mean Ricky Ford on tenor.) 11) "Gotta Travel On." Oscar Peterson? From a Pablo live set? 12) Herbie Nichols, "The Gig" (BN). I'm not a huge Nichols fan, but I do appreciate the musical sound effects on this track, and the inherent humor. 13) Just not my thing. Thanks for doing this!

https://www.allaboutjazz.com/sinatra-in-vegas-with-sun-ra-discovery?utm_source=trial&utm_medium=email&utm_campaign=newsletter_01_04_21&fbclid=IwAR2xy_0y4j0tkcAM__TstgO8xulJuRsexKpdI97b4ktitVrvv-3zTwD4WCA Atomic! Sun Ra and Frank Sinatra at The Sands, a previously unknown 1966 recording of the Intergalactic Navigator onstage with The Chairman of the Board, was released today in a joint venture by Blue Note and Mobile Fidelity. "We didn't know if it was real when we first found these recordings. Had we been had? Or did we have what we thought we had? Was it really what it was?," Don Was, president of Blue Note, wondered about his first encounter with the material.

This seems a good moment to recommend this album, if you can find it:

Thanks.

Jazzbo, where do you go for reliable recommendations regarding system upgrades? Which sources do you trust?

Cool Blues was released on vinyl as part of the LT series. The CD was notable and welcome because it was speed-corrected.

Dexter in the doctor’s office...his voice sounds like a cello.

RIP. I don't remember if I saw A Sunday In The Country, but am glad I saw Round Midnight.

In the beginning, yes, but mid-2000s they also did first releases (I don't count Mosaic boxes as "prior releases"; for one thing, the Conns required designing covers that never existed before): But I don't think this was even on a Mosaic: I think the overriding point of the Conn series was that they were limited editions, made for a smaller audience (what one might call "connoisseurs"). I remember that Concord tried something similar with a limited-edition series of OJCs - Tadd Dameron's Fontainbleau was one of them. But then they never took those titles out of print!