mjzee

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.

I'd be willing to create a Blindfold Test.

I vote to continue. I've only participated in one, and here are my impressions: I agree with a time limit (45 - 60 minutes). It seems the current goal is to present obscure cuts to see if the listener can identify the musicians, who can also be very obscure. Maybe many enjoy this sort of exercise; I kept saying to myself "I don't know this one...no idea...I have nothing to say here." It's not a lot of fun to be shown up by people who can identify them and put them in historic context. My response is: what am I doing here? But also, is the focus on the music or the obscurity? This is dovetailing with my project this year, which is to not buy music but to get in touch with the collection I already own - relistening rather than listening. So if it's just a game of "identify this obscure musician," then it's not that much fun to me. But if we could share more identifiable music, with the goal of discussing what the music means to us, then that might be much more enjoyable.

I'm in the middle of reading the article (in hard copy; I read little bits at a time while I'm in the john). To me, this piece explifies (thanks, Jim!) most that's wrong with jazz these days: the lauding of the Ivy League as a measure of quality, no mention of the music actually connecting with an audience, the outsized importance of racial/gender/cultural factors as being more important than the music itself, and, really, the creation of a body of music that can be studied, analyzed, taught, and tenured with no thought of it being enjoyed. It's as if the music should be available in academic journals rather than in iTunes. Give me Ben Webster any day, even though he wasn't an Ivy League professor.

But if you lose interest in running the board (much as Blue Note did back in the day)...?

Yup, it's been a great run so far. But if I can hit a cautionary note: what if all the info on this board were to disappear? It's too bad it can't all be archived in some fashion.

Bob Dylan has sold his personal archive of notes, draft lyrics, poems, artwork and photographs to the University of Tulsa, where they will be made available to scholars and curated for public exhibitions, the Oklahoma school said on Wednesday. The 6,000-item collection spans nearly the entire length of Dylan’s 55-year career, and many have never been seen before. The collection was acquired by the George Kaiser Foundation and the University of Tulsa. The collection also includes master recording tapes of Dylan’s entire music catalog, along with hundreds of hours of film video. Full story here: http://nypost.com/2016/03/02/bob-dylan-sells-his-personal-archive-of-lyrics-art-and-recordings-for-millions/

Yes, happy birthday Ralph.

Good sleuthing, Jim. I've never even seen this LP. Was it part of a series? I know Verve released a Stan Getz/Bill Evans session with a similar cover.

"Cheryl" is what begins at 4:08. OP wanted to know about the theme played 3:41 to 4:08. It isn't "Cheryl."

Wishing you all the best going forward.

We had a thread about it at the time. I found no definitive answer; this is as close as it comes: http://www.organissimo.org/forum/index.php?/topic/1087-revenant-is-planning-big-albert-ayler-box/&do=findComment&comment=1001631

I think it was that ESP and the Ayler estate ganged up on Revenant, putting them out of business. Fahey must have turned over in his grave.

I wonder what's Wolfgang's plan.

Could James Harrod add something to the discussion?

And don't forget the live Joy Spring session - pretty hot!

From Silsbee's notes: Re "Mood Indigo" (from 2/4/63): "After Fischer moves his solo into waltz time, Pass brings the tune into blues territory." Re "The Night Has A Thousand Eyes" (from "probably February 1963"): "Fisher seems to decline the solo space offered to him on TNHATE so Pass burns brightly without being flashy." Also, after the "Album Index" section in the booklet, it says "Special thanks to Les McCann, Clare Fischer, John Pisano, Russ Wapensky and the Institute of Jazz Studies."

I have the Pass Mosaic. Here are the sessions with Clare Fischer: 1/30/63, 2/4/63, "probably February 1963," 7/18/63, 7/29/63 - all resulting in PJ ST-73, "Catch Me." I saw no mention in Kirk Silsbee's notes of Fischer not playing on several sessions he is credited for.