mjzee

Atlantic was big in fusion, and they had that distribution deal with Nemperor. Together, they had Cobham, Jan Hammer, Focus, EL&P, Herbie Mann, the list goes on... Check out this list of sessions from 1977 alone: https://www.jazzdisco.org/atlantic-records/discography-1977/session-index/

No, no, you're thinking of the Porno. Unfortunately, that has no fidelity at all.

Of course, you could always get a Pono.

I rarely go outside the Apple universe these days. As the old ad slogan goes, they just work.

Harold Mabern! (Thanks to the Hank Mobley - Dippin’ thread for reminding me.)

Send an email to Scott @ Mosaic. He'll ship them to you, as long as he still has them.

On vacation recently, I brought a portable Anker speaker, my old iPod, and an audio cable to connect the two. The old cable only relayed one channel to the speaker. On most modern recordings, that didn't make much of a difference, but on older recordings with a hard "pan," it was an interesting listening experience. For example, "Mr. Kenyatta" from Lee Morgan's Search For The New Land. The section with Grant Green's solo sounded like a guitar-piano-bass trio, because the drums were on the missing channel. I don't think Grant ever recorded in a drumless trio, so this was as close as we'll ever get to imagining how that would sound. Does anyone have other experiences like this?

What an amazing story! Thanks for posting.

I have one too.

A prior thread on Higgins can be found here. There's a great anecdote about Hig and Ben Webster, via Larry Kart, here. Probably my favorite description of Higgins's style is in his NYT obituary: His style did not draw attention to itself and could not be described by mannerisms; his musicianship simply raised the standard of every band he played in. Here's a great assessment of Hig by Mike Zwerin, also from the Times. Higgins simply made every date sound better. I saw him at the Jazz Standard in NYC a little before his passing. I was surprised by the gig, especially leading a band, because I knew he had been ill. The all-star band included Curtis Fuller, John Ore, James Spaulding, and Don Sickler; don't remember who was on piano. They sounded great, did a bunch of BN tunes (probably transcribed by Sickler). At the end, Hig introduced each band member by which subway stop they were located near; pretty funny! Someone should contact Sickler as to whether the gigs were recorded.

Right; they say the last couple of bookings for this quartet were postponed because of President Kennedy's assassination, but happened sometime afterwards...let's say end of 1963/early 1964.

Thanks, xybert!!

According to tower.jp, this is released by MUSAK/blacklion. Here's Musak's homepage: http://www.muzak.co.jp, and here's an additional page: http://www.muzak.co.jp/label/blacklion/. If they have the rights to release these labels, then the Monk may have been remastered from the original tapes. Some have disparaged the sound quality of the 1201 Music reissues.

215 Winter and Winter titles.

Can anyone read Japanese to know which company issued the new version, or is there info on another Japanese site? The presence of a newly-discovered track would seem to indicate that these are from the original master tapes, but would like to know for certain.

Is anyone familiar with this? From the Amazon description: The versatile West Coast jazz drummer, vibraphonist and percussionist Larry Bunker is featured here leading an amazing quartet featuring world renowned vibraphonist Gary Burton; Mike Wofford (piano) and Bob West (bass); recorded live in 1967 at the famous West Coast jazz club, Shelly's Manne-Hole, founded by the legendary jazz drummer Shelly Manne, featuring compositions by Mike Gibbs, Cole Porter, Phil Woods, Jerome Kern and others. All selections newly remastered.

I've been intrigued by this listing from CDJapan. Does anyone have information about it? Specifically, is it legit? Are they new masterings? The description says: Reissue in cardboard sleeve packaging. Comes with a bonus track "Trinkle Tinkle (take 1)." http://www.cdjapan.co.jp/product/MZCB-1365?s_ssid=e4cdf5ab29e19bd64

There is an eBay seller named 78scott who is selling mint Mosaics with very low set #s. The item location for these sets is Rye, NY. See: https://www.ebay.com/sch/78scott/m.html?_nkw=&_armrs=1&_ipg=&_from=

https://jazztimes.com/news/buell-neidlinger-dies-at-82/

The problem is with Cecil’s insistence that what he plays is “jazz.” It isn’t. Call it what you will: art music, energy music, whatever. It clearly isn’t the same type of music as what Cranshaw, Roker, or even MLW played, and it’s silly to pretend otherwise. I think a large contributor to jazz’s demise in the late 60’s was with people associating jazz with out music, and thereby dismissing the whole genre, when they could have been listening to a lot more enjoyable music. Sorry to be reopening debates that have been around for a long time, but I think this has become even clearer with the passage of time.

Neidlinger produced Leo Kottke’s best post-Capitol album, “Regards From Chuck Pink.” It has an aural soundscape very different from any other Kottke album, and must be considered as a collaborative effort. Has anyone here heard this one? Curious if it’s just more of the same from Braxton, or whether Neidlinger turned it into something different: RIP.

PM sent.

Would love to know more about his beginnings. Was he part of a group around Jack Wilson in LA? And how did they intersect with the Horace Tapscott group? And how did the Jazz Crusaders fit into all this?

Caveat emptor. IIRC (I’m away from my collection right now), one of these albums has a skip, which they dubbed from the vinyl onto the CD.

I recently found a used copy of this at Dusty Groove for a very decent price. Two discs of a very tasty live session with Turrentine. Keep an eye out for it: