mjzee

A lot of great titles there. I'm interested in the following, and would appreciate opinions: Cliff Jordan, Sonny Red - Out Of The Blue, The 3 Sounds - Vibrations, Donald Byrd - Blackjack, McCoy Tyner - Tender Moments, Sheila Jordan - Portrait of Sheila.

There was an interesting discussion about this in the liner notes (by William Ruhlmann) to "The Complete Ella Fitzgerald & Louis Armstrong On Verve": "By 1957, interest in Porgy and Bess was increasing, in part because the nascent civil rights movement made an opera about African-Americans more attractive, and in part because movie producer Samuel Goldwyn, in May of that year, had obtained the film rights to it from Ira Gershwin, beating out dozens of others. "Granz denies that he intended any tie-in with the upcoming film, and it is true that Goldwyn was just embarking on what turned out to be a two-year effort to make his film when Fitzgerald and Armstrong went in the studio. It is also true, however, that their finished album was held back from release until April 1959, two months prior to the opening of the film, at which time it found itself competing against at least ten other newly released versions, several of them jazz renditions."

Dylan interviewed by Alan Lomax in 1963: http://research.culturalequity.org/get-audio-ix.do?ix=recording&id=10912&idType=sessionId&sortBy=abc

Can't speak to the piano or bass, but Tony Inzalaco was drummer on Dex's "Stable Mable" album, recorded 3/10/75. So if Dex played with him 1 1/2 years later, he probably liked him.

Reminds me of when I saw Springsteen in 1978. I was working in a record store and someone gave me a free ticket, but all around me were Wall St./hedge fund types who you know paid top dollar and then some to get tickets, singing along with Bruce: "Tramps like us, baby we were born to run!" Uh huh.

RIP.

Listening now to disc 2. A little slice of heaven.

I bought Ummagumma when it came out (I was always attracted to those "two for the price of one" packages; also, there was a big "buzz" about them from Rolling Stone and similar); really liked the live disc, rarely played the other (I remember an endless drum solo). Never got to see the multimedia shows, which I've heard were great (Carnegie Hall, anyone?). Also had the soundtrack to "More" and the earlier Syd Barrett releases. This all obviously changed with DSOTM. You couldn't get away from that in the college dorms, and I can't picture the music without an accompanying haze of pot smoke. DSOTM was OK as a listening experience; I remember that was the album that people used to show off their stereos. When WYWH came out, I saw the formula: reeeeeely slow songs (the better to get high to), stretching out the more minimal melodic ideas. I lost interest in them after that, even though you couldn't get away from The Wall, as it was everywhere. Roger Waters's politics...yecch (although David Gilmour's isn't much better). Oh yeah: I had a few live bootlegs which were great. Check out this (supposedly from Rainbow Theatre, February 1972):

There have been news reports that Amazon has changed their search engine results to reflect the following: Giving premium space to Amazon products, regardless of the search request Giving premium space to companies that pay Amazon for the superior placement (with Amazon pretty much demanding that they do so) Giving inferior placement to companies/products that don't pay Amazon, again regardless of the search request. What this means is that you may have to go a few pages into search results before you find what you were looking for.

Cactus Music is also really good. Just be prepared to clean the vinyl.

Yup. It was in a trendy part of town, so will almost definitely be torn down and repurposed for something else. It already is surrounded by a chain-link fence. Turns out Black Dog is also moving, and merging with a coffee bar.

Never heard of her before, but it's amazing what you'll find on the web: https://annephillips.com/about-anne-phillips/my-history/

Black Dog Records in Bellaire, and Sound Exchange in Montrose. UPDATE: I'm glad you asked. Did a little research on the Web. Sound Exchange has moved, not closed. They've moved to 101 N. Milby in the East End. Recommended.

Anyone know why this was released on Victor? Sonny was signed to Milestone at the time.

Two more record stores in Houston have closed. Sigh.

Here's an example:

When Universal bought BN and other EMI masters, one of the conditions was they needed to sell some other labels to third parties; that's how the Roulette/Roost catalog came to be owned by Warner Music. Warner is reissuing these under the Parlophone imprint. What would we suggest they reissue next? I suggest a remastering of "Stan Getz - The Complete Roost Recordings." I've always disliked the sound quality of the 3-CD set issued under BN. In the liner notes, Cuscuna stated that the Roost masters were non-existent. Maybe so, although I wonder whether some have been subsequently found. More to the point, today's technology would allow higher-quality transfers to be made from whatever source materials are around, with far less reliance on No-Noise. So that's my vote; which do you suggest?

I have the two OAS packages, which may be enough (at least to avoid dupes).

Just got this:

Just got this:

It looks like it's run by his son, Peter Bartok.

Pretty gosh darn cool. Keep 'em comin'!

I second the recommendation. Fascinating stuff.

As I recall, Mary Lou put the concert together. She wanted to bridge the gap, as it were, and show connections between more traditional jazz and the avant-garde. This backs me up: https://jazztimes.com/features/mary-lou-williams-cecil-taylor-embraceable-you/

Yes. I think it was a one-time thing. What did you think of it? I did not see Cecil listening to Mary Lou; he just did his thing. I suspect that if you were able to isolate his mikes, you'd be listening to a Cecil solo concert.