mjzee

I believe #4 is Larry Coryell and Philip Catherine performing Nuages from the album Twin House. http://www.allmusic.com/album/twin-house-mw0000497028 Re #10: Is this Hank Jones? Re #12: Is this Keith Jarrett or Oscar Peterson?

Artists make more off vinyl sales than streaming services - NY Post

Great interview! Thanks for posting.

Since Byard Lancaster and Dave Burrell played on the Wildflowers loft sessions, which were produced by Douglas, could it have been recorded around 1976?

One hundred years ago, the corner of Division Street and Western Avenue in Chicago was home to a less delicate sort of hipster than hangs out there today. Among the gangsters, bootleggers and pool sharks was Milton Mezzrow, a Jewish kid from a good family who was drawn to the fast life, got caught with a stolen car, and at the age of 15 was sent to Pontiac Reformatory in Joliet, where he fell in love with the blues. “Night after night we’d lie on the corn-husk mattresses in our cells, listening to the blues drifting over from the Negro side of the block,” he later recalled. After Pontiac, he discovered New Orleans jazz and learned enough saxophone and clarinet to chart a rough and riotous course through several decades of American music history. “Mezz” Mezzrow (1889-1972) eventually played alongside Louis Armstrong and Sidney Bechet, became a pot dealer in Harlem and served as a self-proclaimed “link” between black and white culture. He also landed back in prison, in gangster-run clubs, in an opium den and finally, in his mid-40s, in a Greenwich Village bar, where he met Bernard Wolfe, a young, Yale-educated writer who was friends with Henry Miller and had read French novelists like André Gide and Louis-Ferdinand Celine. Over the course of a couple years, they turned the story of Mezzrow’s life into the American counter-culture classic “Really the Blues,” a stylized oral history that anticipates the Beat novel, first published in 1946 and now reissued by New York Review Books. More here: WSJ (article title: The Hipster Odysseus)

The two Ronnie Mathews dates are strong. Could've come out on Blue Note in the '60's. Listening now to "Legacy." Look at the band: Bill Hardman, Ricky Ford, Mathews, Walter Booker, Jimmy Cobb. Mathews is an excellent pianist, very underrated IMHO.

In 1966, at the height of rock and soul’s invasion of the pop charts, Latin music in New York underwent its own cultural revolution. Rebelling against years of domination by Cuban rhythms and rigid dance forms like the mambo, young Puerto Rican musicians in East Harlem embarked on a Latin-soul style that would leave its mark on pop before disappearing in the early 1970s. Known as the Latin boogaloo, the genre featured a loose, eclectic blend of funky polyrhythms, Latin percussion, jazzy horns, bluesy piano lines, soulful vocals, English lyrics and hand clapping, which gave recordings an exciting, club feel. The music fed off the freestyle moves of African-American and Latin dancers as they personalized the twist in the early ’60s. The Latin boogaloo’s history, impact and short-lived popularity are explored in “We Like It Like That,” a documentary available beginning March 15 as a video-on-demand at iTunes and Amazon along with a soundtrack from Fania Records. Directed by Mathew Ramirez Warren, the film makes spectacular use of archival film as well as recent interviews with Latin boogaloo pioneers. More here: WSJ

Listening to the Bee Hive set, I am surprised by how much I like the two Sal Salvador dates. Hard, swinging, melodic, smart...just my kind of jazz.

Sad news from the Seattle Times.

I'm right now listening to and greatly enjoying "Gerry Mulligan Meets Scott Hamilton: Soft Lights & Sweet Music" on Concord. I found a used vinyl copy from Dusty Groove. The two of them have a very nice interplay, and the rest of the band (Mike Renzi, Jay Leonhard and Grady Tate) is very simpatico.

Something did happen... http://www.cnbc.com/2016/03/10/amazoncom-homepage-intermittently-down-as-users-report-widespread-outage.html

Online right now.

Are Ponos still selling?

Smith is very strong on Starfingers.

I once created a cassette for my own amusement of Zappa/Mothers material, focusing (but not exclusively) on his instrumental side: Side A: Strictly Genteel Peaches En Regalia Revised Music For Guitar And Low Budget Orchestra / Redunzl San Ber'dino Andy It Must Be A Camel Side B: Let Me Take You To The Beach Pedro's Dowry Twenty Small Cigars (from the Ponty album) Flambay / Spider Of Destiny / Regyptian Strut Drowning Witch / Envelopes / Teen-Age Prostitute

Frank Zappa campaign on Kickstarter.

I got the latest Jazz Messengers catalog in the mail today, and it listed 3 other Jim Hall albums on ArtistShare. One was called Magic Meeting; I don't have the catalog in front of me to name the other 2.

FYI, the Good Lovin' that was performed on 2/13/70 is a bonus track on Bear's Choice.

I think all early-to-mid-60's BN GG albums are worthwhile, but I confess that Grantstand never really connected with me. Can't tell you why.

I'm now listening to 5/14/78 and really enjoying it: the band is tight, up and lively. My impression of the box so far is that the concerts are getting better as we move through time. The earlier concerts...my gut feeling is that Rhino/Dave treated the box as a vehicle to present shows that couldn't stand on their own as a Dave's Picks. It's a grab bag: some are too short, others too variable. But 76, 77 and now 78 are really hitting that groove. I'm actually looking forward to the more underrepresented years, like 1983. I know it'll be iffy, but it might be fascinating listening because of that.

I heard a long track a few days ago on the Sirius/XM channel "The Jam." The DJ enthused afterwards "I love this track!"

It's not that he's just interested in making a lot of money, but this is all part of good estate planning - creating trusts, preserving the money for kids and grandkids, etc. Besides, would anyone who's not interested in money charge $600 for 17 discs, as Dylan did for the super-deluxe version of The Cutting Edge? The reality is that Dylan is a great artist and a pretty good businessman. Or as we used to say back in the day, "he was never known to make a foolish move."

1. Hard stereo pan, so probably mid-60’s. BN feel. Very metronomic time-keeping. I’d guess Ray Charles with Hank Crawford, but the drummer’s too dull for Ray. 2. I’d peg this around 1967-8. Sounds like it could be in the background of a James Coburn make-out scene. I like the conga; I always like a conga in jazz. Give me Ray Barretto any day. The pianist sounds like early McCoy Tyner. Again, hard pan. Ron Carter on bass? It has that elastic feel of his. 3. Sounds Monk-ish. Johnny Griffin has already been identified. 4. John McLaughlin on the right channel? With that really fast run and hard attack. My guess for the left channel: Al DiMeola. Faster, but with less taste. But then a third guitarist on the right channel? OK, I’m guessing Paco DeLucia, from one of those records all 3 made together. Very nice track. 5. Toots. Since this has already been identified, I’m gonna move on; I don’t need to hear another Norman Granz jam session. 6. Since there’s a clarinet, I’m guessing Pee Wee Russell. Ruby Braff, Dave McKenna? I don’t recognize the trombonist. 7. Phineas Newborn; already identified. Unreal technique, and swings like crazy. Listen to what he’s doing with his left hand! The bassist is driving too. This is the epitome of jazz for me; fuck Vijay Iyer and the museum he rode in on. Y’know, I think Thom Keith needs to come clean on the fact that those blue bars do not reflect the music that’s playing. 8. Willow Weep For Me. Was this already identified as Sonny Criss? Ah, Phil Woods. Still, being compared to Sonny Criss is a high compliment. I wish the sound mix was better. 9. Is this early Braxton? Or some other nascent avant-garder. And that cheesy electric piano? Please, give up trying to play tonal; you can’t cut it. 10. Keith Jarrett? He can play without grunting, you know. Sounds like a world-class piano the musician is playing. Maybe the attack is too consistently strong to be Jarrett (and there isn’t any grunting). Hmmm, metronomic left hand. Not sufficiently romantic for the track to really work. 11. Again, it might be Jarrett. And I do hear humming. But the voice doesn’t sound like Jarrett. Still, I am going to go with him. Ah, I see it’s Paul Bley. 12. I like this pianist’s touch. Now this could’ve been Paul Bley: the romanticism, followed by the subverting of the romanticism. I’m going to guess Joanne Brackeen. 13. Weird. The arrangement sounds like it could be Billy Harper, but the synthesizer throws me. Or is it a mellotron? Again, the pianist is trying too hard to impress. Has elements of McCoy Tyner, but that still leaves too many pianists. And the voices??? The modality…I’m gonna guess recorded in the early 80’s. But no idea who it is. Great BFT! Very listenable. Thanks for providing.

Nope, simply makes sense from a tax standpoint. If he could have gotten $50-60 million (assumption being that the appraisal amount will hold up in court), then the amount above the $15 million he actually received can be considered a tax-deductible gift. So he doesn't have to worry about paying tax on the $15 million, and the balance gets applied against his other earnings for the year.

I think he's very focused on money. This is probably all going into trusts for his kids and grandkids.