mjzee

Someone on the Hoffman board posted that volume 7 will be available tonight ("9 PM Pacific").

Art Pepper backing Melanie. RIP.

Release date March 29: Nicole Glover has been getting some well-deserved exposure as a side-person recently but this tenor saxophonist is best appreciated on her own albums, where she fronts a saxophone-bass-drums trio. While not a common jazz format, this instrumentation has sired some classic recordings from greats like Don Byas, Sonny Rollins, Joe Henderson and Ornette Coleman, to contemporary trios led by Branford Marsalis and Glover's label mate, JD Allen. Glover's own trio features the rich, full-toned bass of Tyrone Allen and the sensitive, yet propulsive drumming of Kayvon Gordon. A special guest on the recording is vibes master, Steve Nelson, of whom Glover says, "He's incredible to work with because he is just a phenomenal musician... He enhances everything he is a part of of." This foundation provides two streams of sound (three with the vibes) beneath Glover's improvisations, allowing her complete freedom to be lyrical or driving as she chooses, while maintaining the aural identity of the ensemble. Tomorrow's Another Day may be trumpeter and composer Jeremy Pelt's most experimental recording to-date, with greater emphasis on the dynamic aspects of sound. This thought-provoking record gets a huge lift from the participation of drummer/technologist Deantoni Parks, who previously has lent his remarkable talents to such visionaries as Meshell Ndegeocello and André 3000. Pelt's newest band features Jalen Baker (vibes), Wintz (gtr), Leighton McKinley Harrell (bs) and Allan Mednard (dms), with Frank LoCrasto (pno) on two tracks. The ensemble seamlessly works together to produce a unique galaxy of sounds which have the ability to evoke gritty scenes that pulse with primal energy or surge transcendently skyward. Through it all, it is the trumpet and creative presence of Pelt which provides a sense of ballast to the myriad sounds and textures, with an intensely personal and mesmerizing weave of arguably some of the most stunningly imaginative and communicative work he has given us so far.

Release date March 1: Lushly orchestrated by Kyle Gordon for a 33-piece chamber orchestra, bassist David Friesen's compositions soar in this new 12-part work, originally conceived for the National Academic Symphonic Band of Ukraine. Following 2020's "Testimony," which featured that ensemble, Friesen began on this masterwork with the premier set for the Philharmonic Hall in Kyiv in May of 2022. With that date becoming an impossiblility, Gordon instead sculpted the orchestra in his Los Angeles studio with a sample library and an ear trained in producing for expansive, sweeping film and TV soundtracks. Interacting with the duo of Friesen, pianist Paul Lees along with percussionists Charlie Doggett & Rob Moore, the suite unfolds as a spiritual light that offers forgiveness, hope and purpose, through movements such as "Perseverance," "Innocence," "Tides Turning," and the hymn-like "Return To The Father," written for his wife of 58 years who passed away during a tragic week that included the invasion of Ukraine. Hagiga is a group that takes the freedom to play what they feel like, making the fun and craftsmanship splash! - Music Frames (Netherlands). Beginning with Dave Douglas' contributions to John Zorn's "Masada," through his seminal albums of the '90s, Israeli saxophonist Alon Farber has been deeply inspired by the beauty & uniqueness of the trumpeter's expansive sonic output. Hoping to someday find the opportunity to cross musical paths, that day came in the summer of 2023 as Douglas joined Farber's accomplished group, Hagiga (meaning, appropriately, 'celebration'), at the Jerusalem Jazz Festival. Providing the band with great inspiration, Alon dubbed Douglas "the magician," as he lifted the ensemble with his presence, his tunes offering stimulating landscapes for them to explore, while Hagiga's iridescent chemistry delivered their own magic. "... a powerful, serious album... " - Distrito Jazz (Spain)

Release date March 29: Acclaimed jazz trombonist Altin Sencalar strikes a harmonious chord with "Discover the Present.” This highly anticipated album is a vibrant blend of tradition and innovation, a eleven-track opus with an all-star band that showcases Sencalar's unparalleled talents and tasteful well-crafted musicality. Sencalar's virtuosity on the trombone is awe-inspiring, capturing the essence of jazz while infusing it with his unique style and flair. From exhilarating uptempo pieces that pulsate with energy to soul-stirring ballads that tug at the heartstrings, Sencalar's versatility shines through in every note. As an embodiment of Sencalar's dedication to pushing the boundaries of jazz while honoring its rich heritage, "Discover the Present" is not just a musical endeavor; it's a celebration and an invitation to immerse ourselves in a world where melodies speak volumes and rhythms stir the soul.

Reinhard Goebel Complete Archiv box, disc 15.

Great to see your post, Larry - welcome back!

Kurt Masur - The Complete Warner Classics Edition, disc 30.

The Decca Sound - The Piano Edition, disc 40. Also includes the Shostakovich 24 Preludes from this:

I've posted this before, but it's worthwhile bringing it up again: Page 694 (of the Sonny bio) reveals there may be an unreleased studio date from 2004. Per the book, "Sonny hired his current working band: Cranshaw, Anderson, Jordan, and Dinizulu. The recording took place at Clinton Studios in New York over two six-hour sessions at the end of September 2004...Lucille and engineer Troy Halderson spent two six-hour days mixing as planned, and by early October the album was (finished)." But Lucille passed away November 27, 2004, and Sonny shelved the record. Note that this is not the record "Sonny Please," which was recorded December 2005 and February 2006 at Carriage House Studios in Stamford, CT.

RIP. I also really liked "Remember (Walking In The Sand)" and "Give Him a Great Big Kiss".

One main problem is the whole notion of magazines is anachronistic. Somewhere between a book and a news article, the impression of timeliness but already old when you receive the issue, their main selling point seemed to be consideration - that these ideas were pondered before being written, and a weekly magazine gave the writers the time to reflect and express something knowledgeable. Nowadays, that sort of profession isn't given very much respect - indeed, journalism, now more than ever, seems to require a healthy dose of self-promotion, whether on Twitter, cable news, or wherever: the journalist becomes the brand.

It might come down to who owns the masters of individual recordings, rather than the entire label.

LOL! I saw Evans twice. Once at the Public Theatre, NYC, opening for Ornette & Prime Time (iirc, it was around the time Body Meta came out, so late '70's?); the other was opening for solo Keith Jarrett at Avery Fisher (either JVC or Kool Jazz Festival), probably mid-'80's. That was a time.

The new reissues, including Svengali, are now up on Rhino’s website: https://store.rhino.com/en/rhino-store/special-edition-shops/quadio/svengali-quadio-blu-ray-audio/603497828043.html

I guess once Bock sold Pacific Jazz, he was free to work with other labels? Here's a Wikipedia entry on Vault: https://en.wikipedia.org/wiki/Vault_Records I'm also curious about the Larry Bunker with Gary Burton (also released on CD by Essential Music Group). Looking at the Discogs page that romualdo linked to, one title caught my eye: Little Esther - The Warwick Singles. If Good Time somehow owns the Warwick catalog, maybe we can get good reissues of their jazz titles.

There are two Jorge Bolet albums in the Decca Piano box, both of which I greatly enjoyed. First, the album referenced above, recorded October 3 & 4, 1977: The other, recorded November 1981:

Session B8 (11/20/44) has a Harold McFadden on guitar and electric guitar. Any relation to Eddie?

Another intriguing upcoming reissue (Amazon doesn't give a release date). As best I know, the Colpix masters are owned by Warner - maybe this is licensed from them? But the description makes it seem legit: First-ever luxury 8CD box set of expanded editions of the critically-acclaimed and Treasured Albums That The Iconic Nina Simone Recorded For Colpix Records From 1959 To 1963 Which Formed The Very Foundation For The Global Reach She Achieved As Peerless And Influential Artist Over The Decades That Followed. With An Astounding 107 Tracks Covering Over Seven Hours Of Music, The Original Albums 'The Amazing Nina Simone' (1959), 'Nina Simone At Town Hall' (1959), 'Nina At Newport' (1960), 'Forbidden Fruit' (1961), 'Nina At The Village Gate' (1962), 'Nina Simone Sings Ellington' (1962), 'Nina Simone At Carnegie Hall' (1963) And 'Folksy Nina' (Recorded In 1963, Released In 1964), Augmented By 29 Bonus Tracks Consisting Of Single Edits, Non-LP Sides And A Wealth Of Other Material Found In The Colpix Tape Vaults In The Early 2000's. Including the legendary performer's first readings of classics such as 'Wild Is The Wind', 'I Want A Little Sugar In My Bowl', 'Nobody Knows You When You're Down And Out' and 'Sinner Man' (key cuts that Nina would revisit over later albums after her Colpix tenure ended). Plus an astonishing array of diverse material from torch songs 'You Can Have Him' and 'The Other Woman' to the gospel-flavoured 'Children Go Where I Send You', and a later version of Nina's first US breakthrough 1958 hit 'I Loves You Porgy' along with her indelibly distinctive take on folk songs 'Cotton Eyed Joe', 'Little Liza Jane' and 'Black Is The Colour Of My True Love's Hair'. With stellar remastering from Nick Robbins and exemplary artwork design by Tony Hodsoll, this essential reissue of Nina Simone's eclectic early recordings features a personal essay from Aaron Overfield (her official archivist), commentary by renowned film producer/ storyteller Nia Hill (librettist of the opera 'Nina Simone's Absurde) and extensive notes from historian and SoulMusic Records' reissue producer David Nathan, who founded the first UK Appreciation Society for Nina Simone in 1965.

Release date March 8: Daggerboard Escapement featuring Henry Franklin, Erik Jekabson, Matt Clark, Gregory Howe, and Mike Clark, is a new album of 12 original songs and orchestrations performed by an all around amazing ensemble. Headhunter drummer Mike Clark and Henry 'The Skipper' Franklin hold down the rhythm section while Matt Clark lights up the piano and Erik Jekabson soars on trumpet. Venturing out from the syncopated textures of classical minimalism, Daggerboard explores many time signatures and musical movements all within the core of a Jazz sensibility. Also Featured on Escapement are Mads Tolling on violin, Kasey Knudsen on saxophone, Mike Rinta on trombone, Ben Davis on cello, Jonathan Ring on French horn and William Winant on marimba and timpani.

I find this intriguing. A label named Good Time has three upcoming releases that were originally on Vault Records. No idea if they are legit. The Vault label has been bouncing around for awhile (last issued by Essential Music Group) and really mistreated: they reissued some titles at the wrong speed! So it'll be interesting to see if these are legit, and if the mastering is done correctly and with respect. I've always been interested in hearing their Jack Wilson titles.

Release date February 16: With his alto sound soaring over a sax trio format on For All We Know, Jim Snidero demonstrates why he is a critical link in the alto saxophone lineage. Snidero pares down the soundscape to it's essence, utilizing a selection of standards to illuminate a rare combination of virtuosity, musicality and depth along with jazz masters Peter Washington-bass and Joe Fransworth-drums. With a tone quality that's second to none-Stereophile cited his sound as "one of the richest and purest on the planet"-Jim Snidero has showcased an enviable resonance in myriad contexts over the better part of the past four decades and 25 previous releases. Now, placing himself in the most exposed setting he's ever inhabited, Snidero reaches the apex on the alto saxophone.

Release date March 22: "This was a dream band to write for and play with," alto saxophonist Michael Thomas says of Manuel Valera, Matt Brewer and Obed Calvaire, his A-list rhythm section on Illusion of Choice, his Criss Cross debut, and fourth leader album. "These musicians can play any style and sound like it's the only thing they play. I wanted to explore these different areas and cohere them into an album, not sound like tunes stuck together for a CD. Everything was on the table. I wasn't afraid to develop whatever ideas I came up with, and see where they went."