mjzee

Hear, hear! I agree.

We can only guess what caused the delay. There were probably a lot of conflicting rights holders, and they all had to come to a meeting of the minds. There's Naima's family (who still owned the tapes), the Coltrane estate, Universal, and who knows who else.

This is fascinating. I guess we now have a sense of future Impulse releases. I, for one, can't wait for the complete Coltrane & Hartman sessions.

The reason she and Lion got divorced was because she wanted kids and he didn't.

Has anyone heard anything more definite about this release?

The Cool Struttin' legs belonged to Ruth Lion, not Lorraine. RIP. An amazing life. And thanks for all the music.

Sounds like it was originally a calypso.

A favorite; great playing all around (Burton, Weber, Metheny, Swallow, Gottlieb). Weber plays "lead" bass, while Swallow covers the bottom.

https://www.facebook.com/newsounds/videos/10156368282893180/

Late to the party, but I finally gave a listen to this. Great set, loved the 1973 material. But... I was very interested in the 1975 track, since I was at that show, and was surprised by the bad bootleg sound quality. I know there was a tape circulating on ROIO. Has anyone heard that - is the sound quality any better?

I'd love to have a poster of the cover photo of the Steve Tibbetts album. Great photo!

24 bit remastering off vinyl rips?

If you're referring to this: https://www.amazon.com/Blue-Trombone-J-J-Johnson-Quartet/dp/B002JIOQ2Y/ref=sr_1_1?s=music&ie=UTF8&qid=1527612208&sr=1-1&keywords=j.j.+johnson+blue+trombone, it's not a Columbia or BN release; it's a bootleg released on the "American Jazz Classics" label. They don't have licenses for either the Columbia or BN material; instead, they take advantage of the looser public-domain rules in Europe. Note that their cover does not say Columbia: As opposed to the legit release currently available from CDJapan:

Here's a good example of what I'm advocating for: A nice mix of originals and covers, the covers are a classic (A Train) and more contemporary (Too High), and the originals are a nice mix of styles. Tracks are in the 4- to 7-minute range. The album's about an hour long, but some of the originals could probably have been dropped. All in all, a very nice effort, and enjoyable listening. And Irby could probably destroy Braxton in a cutting contest.

Take a look at a typical Blue Note release, and see how many tracks are in the 5 to 8 minute range. More than you might expect. Now consider Dexter's "Tanya" from One Flight Up. 18+ minutes. Think of how much better that would have been if they had edited it down to half its length. Tightness, punchiness would make it more memorable, and wouldn't impose on the listener. I found this an instructive exercise: compare the originally-released, edited performances on Mingus Ah Um and Mingus Dynasty to the full performances now available. Editing made these tracks simply better. Of course Coltrane (or the Grateful Dead) on a tear was indescribably thrilling. But most performers aren't on Coltrane's level, and you have to work to (maybe someday) get to that level. Even Coltrane spent many years as a journeyman, performing tracks that were standards and about 6 minutes in length. I'm not talking absolutes. But jazz went way too far in the other direction, and lost a good part of the audience in the process. Just my opinion, of course.

There's got to be some innovative way to market it. Either downloads, or maybe release it on DVD discs...at 4.7 gb, they could get 5 or 6 concerts per disc. I'm probably dreaming.

https://www.amazon.com/Masters-Jazz-Vol-Hit-Singles/dp/B0000033TU

Double albums are too long. Single CDs that are double-album length are too long. I had to laugh when I saw the latest (this month?) release from Anthony Braxton: 11 discs worth of Charlie Parker compositions. Did Charlie Parker release 11 discs worth of his compositions in his lifetime? Yet this is seemingly a month's work for Braxton. Can anyone listen to Braxton's output alone and still have a life? I also remember the complaint that Swedish filmmakers had about Ingmar Bergman during his lifetime, that Bergman was sucking up all the attention and money available in the (not too big) Swedish film industry, leaving nothing for others to create. So albums should max out around 40 minutes, with tunes maxing out around 6 minutes. No twenty-minute freak-outs, with the first 10 minutes just getting around to stating the point. Make it pungent. Hire an editor. And include some standards, to help people understand your point of view.

I'd love to see a box containing all of Concord's "Maybeck Recital Hall Series" releases. What a compendium of styles! And great sound quality too.

I didn't realize it's a different transfer. The one song that's longer on birdeyes is only longer compared to the Electra Musician LP, but the Blue Note CD has everything. Here's Plosin on the Washington date: http://www.plosin.com/milesAhead/BirdSessions.aspx?s=530222, and on the "Machito" date: http://www.plosin.com/milesAhead/BirdSessions.aspx?s=500519b.

I obtained some Bird's Eyes volumes from Import CDs. I am very disappointed with Volume 22. It consists of material from 3 dates: 1) Cootie Williams Orchestra, 2/12/45: Per Plosin, Parker solos only on one track out of 8. 2) Machito's Afro-Cuban Band, 5/19/50: Per Plosin, it's disputed whether this is really Parker (or Machito). 3) Bird, Club Kavakos, Washington, DC, 2/22/53: All of which is available in better sound on Blue Note's "The Washington Concerts." Ah, well.

Happy happy, Jim.

Release date June 15:

Nope, and a Google search didn’t turn it up. Thanks for finding it.

Philip Roth, the American novelist who penned the celebrated “Portnoy’s Complaint,” died at the age of 85 on Tuesday. https://nypost.com/2018/05/22/award-winning-novelist-philip-roth-dead-at-85/