mjzee

Good advice, Jim.

Happy birthday, Mr. Carter, and many more.

I have no inside info. There are a few titles I've been watching on Amazon. One is arriving tomorrow (Jeri Southern). The titles have gone in and out of stock, but they do seem to be regularly restocked. Jazz Messengers sent a promotional email on April 2 that said the following; perhaps they know something we don't? RECOMMENDED!! With the passing of Bob Sunenblick in 2018, the jazz world lost one of the best ‘detectives’ it had. Mr. Sunenblick catalogue in Uptown Records contains a vast array of rare treasures by some of the giants of the music as well as some of the more unsung heroes. It is truly a collector’s heaven and with the passing of time, these will become harder and harder to find!!! Grab them now!!

Wow, this was great. I started watching, and couldn't stop until it was done. Thanks for posting it. As an aside, I know what Tripp said about Beefheart has been said by many other musicians, but for me, the aural evidence doesn't support the idea that Beefheart really wasn't the composer, didn't "know what was going on" or didn't "know how the parts of the music went together." There was a consistent conception and progression from "Plain Brown Wrapper" through "Decals." This was obviously Beefheart's music, and he in some way got the musicians to play that sound. Certainly what would clear that up would be if Beefheart's famed piano improvisation tapes would surface, so we could hear the building blocks that became the "Trout Mask" and "Decals" compositions. Perhaps the John French book would shed more light on this, but I can't bring myself to read it.

Any relation to Fats Theus?

I'm also not a big fan of this session. It's of its time: long, unfocused tracks, lots of modal tunes (IIRC), intensity at the expense of relaxedness and humor. I have the 2014 Japanese release, which I guess has the saw solo - I don't remember it, but probably also chalked it up to its being "of its time." When I saw The Cookers here in Houston a few years ago, David Weiss took pains to introduce Billy Harper as being from Houston and also the composer of Croquet Ballet. He was surprised there wasn't a huge roar of recognition when he mentioned the title.

That was my response too. Order is in.

There's at least one track on here from 1908:

I'll just leave this here; try to make it to the end.

Listening now to disc 4. Ace Deuce Trey is such a strange composition! I really like it.

Your commentary is fascinating. I never liked this record, found it sloppy or needed rehearsal. In light of what you wrote I relistened. I still think it sounds sloppy (IMHO), but more think the culprit is the interplay between Dexter and Freddie. Dexter is just a little too behind the beat, and isn't matching up well with Freddie on the unisons. Buster's bass is also a little off, not really hitting the groove with Cedar and Billy. As for Cedar... I know that Billy was Dexter's favorite drummer, but Dex recorded very sparingly with Cedar - just these few Prestiges and some Columbia dates late in his career. I think Dex sounded best with more blues-based pianists, less so with the more baroque inclined (I'm also not a fan of George Cables's work with Dex). So, yeah, this performance just doesn't jell for me. Glad you enjoyed it, though.

It's not a "pocket" thing (Farmer wasn't a "pocket" player), but the work that Walton, Jones and Higgins did behind Art Farmer on those EastWind releases was sublime.

Checking in on the Village Vanguard: https://jewishinsider.com/2020/04/checking-in-on-the-village-vanguard-the-worlds-oldest-jazz-club/?fbclid=IwAR23ecMqm6M1maqkWz3xJF7JDTiTRj5Lnp7boeeMwxY1_M0xLradu6nyTWg

So many...I can't pare them down. But try these:

Designed by the same art house?

Happy birthday, to one of our unsung heroes! I'll play this:

Was fortunate to recently acquire the Fresh Sound 2 LP on 1 CD release.

I hope it's all going well, and that you're feeling better. Can't wait for the release; I emailed my info to you.

In the New York Post, of all places: https://nypost.com/2020/04/18/jazz-legend-giuseppi-logan-dies-of-coronavirus-at-84-report-says/

Release date April 24:

Release date June 26: One of the largest and most productive families is the Weiss family. Numerous outstanding hot jazz musicians are descended from them, perhaps the most famous being guitarist Traubeli Weiss, who died in 2012. David and his cousin Danino Weiss also learned from him, their uncle, and yet, like many Sinti musicians of their generation, i.e. the now 20 to 30-year-olds, they broke new ground. If only because they did not choose guitar or violin, the classical lead instruments of Gipsy Swing, but David chose the accordion and Danino the piano. On these instruments they grew up with a wider range of jazz right from the start. So, it is no coincidence that their new, second album is called The New Gipsy Sound. Now, on The New Gipsy Sound it's mainly back to France. Joseph Cosma's Clair De Lune is swirled around with melancholic accordion and piano lines just as idiosyncratically as Charles Aznavour's J'aime Paris au mois de Mai, here accelerated in a hard-hot swing. Michel Legrand's Watch What Happens breathes the flair of great Parisian jazz galas of the fifties, and once there is also a side trip to the old Hot Club, with Django Reinhardt's Douce Ambience - although the classic comes along in a dewy fresh, modern swing version. In addition, there are exquisite trouvailles such as Hildegard Knef's anthem Für mich solls rote Rosen regnen right at the beginning and the languishing Wonderful You by the now unfortunately almost forgotten Easy Listening King Peter Nero. And of course, there are also compositions of the two band leaders, such as the dynamic Gipsy Keys, whose harmonies almost remind of Coltrane's Giant Steps, or Sourire, which is enriched with Latin rhythms.

Release date May 1: When Dizzy Gillespie put his hat in the ring for President of the United States in 1964, he also oered to be the first African-American astronaut, just in case they couldn't find anyone else. In making Dizzy Atmosphere, Dave Douglas's tribute to the great trumpeter, composer and humanist, Douglas said he wanted to explore Dizzy's experimental and wide open mind as well as the influence of his music. This album shines a light on the whole legacy of Gillespie, one of America's finest artists. The original music Douglas wrote swings and shimmers with a grace reminiscent of the great man. Dizzy Atmosphere also contains several imaginative arrangements of Gillespie compositions, including reinterpretations of two key Gillespie tunes 'Manteca' and 'Pickin' the Cabbage.' Douglas's band is also remarkable, featuring fellow trumpeter Dave Adewumi, recent winner of the Carmine Caruso Competition, along with pianist Fabian Almazan, guitarist Matt Stevens, bassist Carmen Rothwell, and drummer Joey Baron. Like his previous explorations of the influential music of Mary Lou Williams, Wayne Shorter, and Booker Little, this album is sure to inspire listeners to hear the music of Dizzy Gillespie in new and interesting ways.

Release date May 15: Recorded in May 2015 in San Diego, CA, this is one of the last recording of the extraordinary clarinet player Perry Robinson, a musician that since the 60s has been considered a staple of the NY avant-garde scene. Not only he also had more traditional collaboration with musicians like the Brubeck's, Tony Scott and many other. Hi was one of the columns of the Charlie Haden Liberation Orchestra, a sideman with Don Cherry, Gato Barbieri, John Fisher. In this CD in duo with percussionist, electronic experiments artist Andrea Centazzo once again he cross the genres from extremely inventive sound scapes to hunting melodies all improvised in 2 days session.

Release date May 29: Debut Whirlwind Recordings release from acclaimed British saxophonist and long-time NY-resident Will Vinson. '441' refers to the five pianists (88 keys) plus one saxophone present on this hugely impressive recording. Featuring a truly stellar cast in pianists Tigran Hamasyan, Fred Hersch, Gerald Clayton, Sullivan Fortner and Gonzalo Rubalcaba, bassists Larry Grenadier, Matt Brewer, Rick Rosato and Matt Penman, plus drummers Billy Hart, Eric Harland, Clarence Penn, Jochen Rueckert and Obed Calvaire. Originally from London, alto saxophonist/composer Will Vinson moved to New York City in 1999 and has remained there ever since. Since his arrival, he has appeared and/or recorded with Gonzalo Rubalcaba, Kurt Rosenwinkel, Ari Hoenig, Marcus Gilmore, Chris Potter, Kurt Elling, Lage Lund, Aaron Parks, and many others