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What does this mean: Stoughton "Old Style" Tip On Jacket Faithfully Restore

It's an interesting tour. The earlier album, "Space Flight" (the one with Grant Green), is the more uninteresting of the two. It's probably of it's time: more R&B than jazz, like a dumbed-down version of Baby Face Willette's Blue Note albums. A lot of it is what a friend of mine used to call "stripper music." You probably have a lot of this type of music already in your collection. Lazar plays an aggressive style of organ, and GG plays every lick you've already heard of his. I had always wanted to hear the album, and now I've heard it. I was pleased and surprised that "Playback," the second album, is much better. There's much more of a supple rhythm, the material is more sophisticated, and the overall blend of instruments is more listenable. There's much more jazz content on this one. I liked Joe Diorio on guitar more than GG, Phillip Wilson is the drummer (I'm assuming he's the Art Ensemble drummer), and the tenor saxist is Miller Brisker (misspelled in the CD booklet as Miller Brisket). The sound quality and mix are much better than on "Space Flight"; it's a more modern-sounding recording, with less echo. So what we have here is an enjoyable album, an historically-important album, and a rare 45. Not too bad a deal.

Release date December 6: A previously unreleased treasure. This is the final ever recording of the legendary, influential drummer, whose impact across Rock, Funk and Soul, as well as Jazz, is unrivalled to this day. Recorded over 2 nights, 19th & 20th November 1986, at Ronnie Scott's in London, England. Available as 4 physical formats, as standard and Deluxe. The deluxe, Collector's Editions include a full 30 minutes of extra material, including a gob-smacking drum solo demonstrating that even toward the end of his life, his playing was unsurpassable The Collector's Editions will be available in limited batches at a time, to optimise their value, and increase collectability. Includes full liner notes by Buddy's daughter Cath, who also appears as a guest vocalist on the recording 'My dad chose set lists for the two nights that I hadn't heard before. He was always brilliant in choosing the right sets, but this time he shied away from the tried and true and went to places musically that were very different. It was as if he knew that he didn't have to prove anything anymore and could relax and go wherever he wanted and enjoy it. I think the end result proves just that. For two incredible nights I got to sit in the audience and cheer right along with everyone else. I will always remember that time as one of the greatest moments in my life. Now I can revel in the fact that, thankfully, his last recordings were caught on tape for all of us to enjoy forever. It has taken thirty-three years to finally get these recordings out. An absolute labor of love that I never gave up on. At times it was quite a struggle, but in the end it was all about the music.'

I'm listening to it now. Sound quality is fine. The first two tracks had to have been copied from the Cawthron 45, but it sounds fine - no clicks or pops. I'm now in the midst of the Space Flight LP tracks. It doesn't sound like an LP rip. The sound quality and style of recording are like the Baby Face Willette Argo LPs rather than something recorded at Rudy's, but it's perfectly acceptable. Lots of echo on the organ and guitar.

I missed this when it came out; still kicking myself.

This one, recorded November 12, 1972 in Switzerland: Released on Concord/The George Wein Collection GW-3004 in 1984. I found a used copy not long ago at Dusty Groove.

I recently found a used copy of Demons In Pursuit, and it was like rediscovering an old friend. Someone I knew in college gave me the album originally; he got the copy because a friend of his, who went to our college, did the inside illustration. What a band: Walrath, John Scofield, Jim McNeely, Ray Drummond and Dannie Richmond. Recorded at Rudy's in 1979. I don't know that it's ever been re-released. I know he's done a lot since then. Do you have any favorites?

I have it, but haven’t yet listened to it.

The last album in the "Criss Cross New Releases" thread was released May 17. We shall see... It was produced by Mr. Teekens, so I guess he was still in charge:

Must respectfully disagree about Pepper Adams. I love his work, but this album, with just him and a rhythm section on 4 long cuts, is an effort to get through:

This one adds a piano:

HutchFan, I hope one aspect you'll touch on is big bands and smaller big bands in the '70's. Not that I love that music, but it was a part of the jazz ecosystem. People like Buddy Rich, Louie Bellson, Akiyoshi/Tabackin, Bob Brookmeyer, among others...it seemed like there was a real effort to keep this style of music alive.

Great accompaniment!

There's so much good J.O.S. on Blue Note. I also really like Rockin' The Boat (talk about greasy!), Home Cookin', Cool Blues, and the Open House/Plain Talk date.

I find that fascinating, because DeepDiscount.com and importcds.com are the same company.

This is the lowest price I've ever seen for this box: $149.99 at Amazon:

RIP.

Thanks to all who participated. Track 1: Mike LeDonne, “They Long To Be Close To You” (Bacharach, David). Mike LeDonne, Hammond B-3; Eric Alexander, tenor sax; Peter Bernstein, guitar; Joe Farnsworth, drums. 11/5/03. From the album “Smokin' Out Loud” (Savant). It’s got this great groove, which comes from these guys working together in different combinations for so long. I also just like happy music; I love what they do with this sappy song. I’ve never heard LeDonne on piano, but I doubt it could bring me the pleasure that this does. Track 2: Karrin Allyson, "Feel Like Makin' Love” (Eugene McDaniels). Karrin Allyson, vocals, perc, keyboards; Gil Goldstein, keyboards and arrangement; Paul Smith, keyboards; Danny Embrey, guitar; Rod Fleeman, guitar; Bob Bowman, bass; Todd Strait, drums. December 13-16, 2003. From the album “Wild For You” (Concord). She’s got this wonderful, sensuous voice, and the message it conveys…a combination of apprehension and fatality, but then it resolves into when she’s happy and content (“That’s the time…”). All props to Gil Goldstein’s arrangement. Track 3: Barbara Carroll, “My Funny Valentine” (Rodgers, Hart). Barbara Carroll, piano; Dante Martucci, bass; Herb Wasserman, drums. 11/9/51. From the album “The Erteguns' New York: New York Cabaret Music” (Atlantic). The start of four tracks focusing on the piano. There’s something formal and elegant about this, but it’s very solid underneath. She hits all the right notes. It’s actually a very beautiful performance, and if I were hearing this in a noisy but elegant nightclub, I’d be wishing the audience would tone it down so I could better hear the pianist. Track 4: Junior Mance, “A Night In Tunisia” (Gillespie, Paparelli). Junior Mance, piano. January 1992. From the album “Here ’Tis” (Sackville). Another beautiful performance, wistful and elegiac, thinking back to older, more wonderful times, thinking of a night in Tunisia, thinking of an interlude. The album this was taken from is pretty wonderful, both in conception and in execution: a band consisting of flute, guitar, piano, bass and drums performing Dizzy Gillespie compositions. Not at all what you might expect. Track 5: Abdullah Ibrahim, “Memories Of You” (Blake, Razaf). Abdullah Ibrahim, piano; Kippie Moeketsi, alto sax. 1971. From the album “African Sun” (Camden; originally on Kaz). This tune must have had a profound impact on Ibrahim, as he’s recorded it many times over his career. This is a particularly strong version, owing to Kippie Moeketsi’s impassioned delivery. All of Ibrahim’s South African recordings are delights. Track 6: The Great Jazz Trio, “Lover Come Back to Me” (Romberg, Hammerstein II). Hank Jones, piano; John Patitucci, bass; Jack DeJohnette, drums. June 4 & 5, 2004. From the album “'S Wonderful” (441). Here you have John Patitucci doing his best Ron Carter, Jack DeJohnette channeling his inner Tony Williams, and Hank Jones being his own sweet self. I like listening to standards, especially played by the masters. Jones was 85 when this was recorded, not that it matters. Track 7: Sal Salvador, “Sometime Ago” (Sergio Mihanovich). Eddie Bert, trombone; Nick Brignola, baritone sax; Sal Salvador, guitar; Derek Smith, piano; Sam Jones, bass; Mel Lewis, drums. 3/24/78. From the album “Starfingers” (Bee Hive); also available on Mosaic’s “The Complete Bee Hive Sessions.” Lovely music: melodic, driving, smart. These guys are so good…the Mosaic Bee Hive box really made me appreciate Salvador (his Blue Note EP from the ’50’s is pretty damn good too). Trombone, bari, and guitar blend so well together, and with a great rhythm section, it’s just about all you need. Track 8: Milt Jackson, “Impressions” (John Coltrane). Milt Jackson, vibes; Monty Alexander, piano; Ray Brown, bass; Mickey Roker, drums. 4/23-24/82. From the album “A London Bridge” (Pablo). The stumper! But really, who’s the 800-lb. elephant in the room? None other than big Bags! That tone is so identifiable, but maybe y’all just forgot how hard he could burn. Bags was always contemporary; Trane’s “Impressions” couldn’t phase him. This album’s one of three that were recorded at an engagement at Ronnie Scott’s. All three are highly recommended. Track 9: Earl Bostic and his Orchestra, “Cherokee” (Ray Noble). Blue Mitchell (tp) Earl Bostic (as) Ray Felder (ts) Gene Redd (vib) Joe Knight (p) Mickey Baker (g) Ike Isaacs (b) George Brown (d) Bill Williams (vcl). 12/17/52. Originally on King; from the album “The Earl Bostic Collection 1939-59” (Acrobat). The segue being the vibes. More happy music. As I get older, I wanna listen to fewer geniuses and more guys like this. But listen underneath the rockin’ tone, and you get great melodicism and spirit, and that guy’s all over his sax! Thanks to Jim Sangrey for pointing me to this one. Track 10: Ed Cherry, “Joe's Thing” (Jay Collins). Ed Cherry, guitars; Joe Ford, sax; Lonnie Smith, organ; Nasheet Waits, drums. 9/11/00. From the album “The Spirits Speak” (Justin Time). Ed Cherry was Dizzy’s guitarist for a decade. I became aware of him one New Year’s Eve in the mid-90’s in Montclair, NJ. Montclair was hosting a series of First Night events throughout the small city. I wandered into a bank that held its lobby open for the evening, where Ed Cherry and a flautist were playing carols (I think Vic Juris played at another location). I was impressed, and have bought a few of his albums. Track 11: Rufus Harley, “Eight Miles High” (McGuinn, Crosby, Clark). Rufus Harley, bagpipes; Richard Tee, piano; Eric Gale, guitar; Charles Rainey, bass; Jimmy Johnson, drums; Montego Joe, conga drum. September 10-12 & 17, 1969. From the album “King/Queens” (Atlantic); also available on the album "Courage: The Atlantic Recordings.” As many noted, the one, the only Rufus Harley! A driving groove, fascinating arrangement, and, of course, bagpipes. Track 12: Nino Tempo & April Stevens, “I Love How You Love Me” (Mann, Kolber). 1965. From the album "Where The Action Is!: Los Angeles Nuggets 1965-1968” (Rhino). More bagpipes (this time by Dan Hood). I would love to have been a fly on the wall at the production session: “I like the track, but it needs something extra… I know! Bagpipes!” Yeah, that’s the ticket. Track 13: Frank Zappa, “Dance Me This” (Zappa). Frank Zappa, guitar, Synclavier realization; Anatolii Kuular, Kaigl-Ool Khovalyg, Kongar-Ool Ondar, vocals; Todd Yvega, algorithm and Synclavier assistance. 1993. From the album “Dance Me This” (Zappa). From the last album Zappa recorded before his untimely demise. The vocals are by a trio of throat singers from Tuva in southern Siberia. Sometimes you just need to hear some Zappa. Track 14: Roy Wood’s Wizzard, "Rob Roy's Nightmare (A Bit More H.A.)” (Mike Burney). 1972-3. From the extended version re-release of “Wizzard Brew” (EMI). Not much to say about this; it was from a time when “rock” could encompass anything and everything. “Anything and everything” pretty much describes Roy Wood. Track 15: Herbie Mann, “The Blues Walk” (Clifford Brown). Herbie Mann, flute; Durval Ferreira, guitar; Pedro Paulo, trumpet; Paulo Moura, alto sax; Sergio Mendes, piano; Otavio Bailly Jr., bass; Dom Um Romao, drums. October 1962. From the album “Do The Bossa Nova With Herbie Mann” (Atlantic). I’ve been listening to a lot of Herbie Mann lately, mainly because his catalog is so cheap these days! Between those Collectibles two-fers and used LPs from Dusty Groove, you can cover a lot of ground with very little money. It’s been a surprising experience for me, since I long associated Mann with those MORish semi-disco semi-light-listening albums from the mid-70’s. The guy had an interesting mind, good technique, and wide range of interests. Sometimes it’s not bad to follow every trend if you can extract good stuff from each. This album, recorded during the bossa nova craze, was recorded in Rio with local musicians, and, in the midst of compositions by Jobim, Powell and de Moraes, they did a damn good version of Clifford Brown’s “The Blues Walk.” You could do worse. Track 16: John Fahey, “Summertime” (Gershwin, Gershwin, Heyward). John Fahey, guitar. 2000 - 2001. From the album “Red Cross” (Revenant). Although I generally frown on geniuses, John Fahey was a genius I approve of. His conception was just amazing, and there’s gotta be a way his music can be characterized as jazz. Track 17: Elvin Jones, “H.M. On F.M.” (Hank Mobley). Thad Jones, trumpet; Hank Mobley, tenor sax; Abdullah Ibrahim, piano; Don Moore, bass; Elvin Jones, drums. 3/23/66. From the album “Midnight Walk” (Atlantic); also on a Collectibles twofer. A track that could’ve been on Blue Note, though it would’ve sounded a lot better had it been recorded by Rudy. Hank, doing his Hank thing. Add Thad, Elvin, and Ibrahim’s second appearance on this BFT, and you have something very nice indeed.

Another superior date from the '80's is Peace (Enja), with David Friedman (vibes), Buster Williams and Joe Chambers.

All will be revealed tomorrow (at least as regards this BFT).

The Randy Weston is really good; jump on it if you don't own it (I do).

For your show to be truly representational, not only of ECM through 1973 but also the seeds of what it became, you should include some Ralph Towner (Trios / Solos works), Gary Burton (The New Quartet is a monster, though a lot harder-edged than his work just a few years later), and Keith Jarrett's Solo Concerts (since Keith is to ECM as Jimmy Smith was to Blue Note - the earnings that powered the company). Maybe also a Jan Garbarek, since he's on sooooooo many ECM releases.

If you read this carefully, it's obvious why Columbia would discontinue the Miles sets: There are no immediate plans to end the Bootleg Series, but the steep decline in the market for physical product does put its future in some jeopardy. “We have to also see how long people keep buying these things,” says the source. “We’ll see what happens. Right now, there’s a certain amount of physical that still gets sold, so we’d like to keep doing them.” https://www.rollingstone.com/music/music-news/bob-dylan-bootleg-series-johnny-cash-nashville-skyline-john-wesley-harding-886719/

If this is the Japanese edition I bought last year (see cover below), jump on it if you don't already have this music. Monk was alive, lively and fresh that day. Al McKibbon and Art Blakey, c'mon! Great sound, fully licensed from Black Lion.

Hi, y'all. Just a quick reminder that Blindfold Test #187 is currently ongoing! Step right up and click the link; listen, and share your impressions. That's it! Easy as pie. The month's almost over, so get your observations in now! http://thomkeith.net/index.php/blindfold-tests/ Go Astros!