mjzee

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."

Release date April 15:

Release date March 1: Product Description Rising star tenor saxophonist Willie Morris embarks on an immersive sonic journey exploring the concepts of "Attentive Listening" with his own unmatched blend of virtuosity and emotion. From the thoughtful balance of lively and spirited tunes juxtaposed against the contemplative, soul-stirring pieces, the entire program of "Attentive Listening" is an ingenuous testament to Morris's sincere dedication to his own pursuit of maturity and musical mastery. Collaborating with the stellar rhythm section of pianist Jon Davis, bassist Boris Kozlov and drummer Rudy Royston. Morris effortlessly crafts an auditory landscape that captivates, inspires, and leaves an indelible mark on the listener which lingers in the heart and mind long after the last note fades away. "Attentive Listening" is more than an album; it's an encounter with pure musical brilliance; it's an invitation to immerse ourselves in a sonic experience celebrating the hidden power of receptivity. About the Artist Hailing from the vibrant music scene of St. Louis, saxophonist and composer Willie Morris emerges as a fresh and exciting force in the jazz scene. With a deep-rooted appreciation for the Black-American art forms that have flourished in his city, he brings a dynamic and unique perspective to his craft. Willie's profound passion and love for music have been an integral part of his life, starting from his early days as a bedroom drummer and evolving into a formal education as a saxophonist during his adolescent years and beyond. Willie's journey led him to study music at prestigious institutions such as Eastern Illinois University and The Juilliard School, where he had the privilege of learning from renowned teachers, including Dan Block, Ron Blake, Roxy Coss, Bruce Williams, Sam Fagaly, Marc Cary, Ulysses Owens, Paul Johnston, Scott Hesse, Frank Kimbrough, and many other influential mentors. These invaluable experiences not only honed his technical skills but also helped him explore his own artistic identity, shaping his ever-evolving contributions to the world through music. In this early stage of his career, Willie Morris has already been blessed with remarkable opportunities that have allowed him to perform and record alongside a distinguished lineup of artists. Collaborating with esteemed musicians such as Randy Brecker, John Clayton, Jason Marsalis, Montez Coleman, Josh Lawrence, Donald Edwards, Boris Kozlov, Rudy Royston, and Art Hirahara, among others, Willie has had the privilege of immersing himself in diverse musical settings that have expanded his artistic horizons. Willie's debut album, Conversation Starter (Posi-Tone 2023), serves as a platform for showcasing his exceptional abilities, while being surrounded by veteran musicians. His second album, Attentive Listening (Posi-Tone 2024), continues to display his depth and range of musical prowess. Through his soulful saxophone melodies, innovative compositions and choice interpretations, Willie delivers a captivating listening experience that resonates with audiences on a profound level. Beyond his musical prowess, Willie aspires to utilize his artistry as a conduit for connection and a means of expressing the unspoken thoughts and emotions that resonate with people from all walks of life. With his captivating sound, he aims to bridge gaps and create a platform for understanding and sharing experiences. As he continues to evolve as an artist, he is sure to captivate hearts and minds, breaking barriers and fostering a sense of unity through the universal language of music.

Release date March 8: The chromatic harmonica may look like a simple toy or a novelty but it is actually one of the most difficult of all instruments to play. Stating a bebop melody with the ease of a saxophonist has only been achieved by a small handful of jazz harmonica players, most notably Toots Thielemans and Hendrik Meurkens. For his new project 'The Jazz Meurkengers', Meurkens decided that a new swinging jazz album was long overdue so he contacted pianist Steve Ash, bassist Chris Berger and drummer Andy Watson to help him deliver the hard-bop groove of Winton Kelly, Jimmy Cobb and Wes Montgomery. The album features four standards, five Meurkens originals and special guests Ed Cherry and Nick Hampton. In February of 2023 close friends, Cory Weeds and Champion Fulton travelled to OCL Studios just outside Calgary to record a new live, duo album in front of a rapt audience. Their special bond was evident as pianist and vocalist Fulton delivered sophisticated, swinging turns across a set of beautiful tunes, in conversation with Weeds at his expressive best. This eight track LP edition is pressed on classic black 180g vinyl and limited to 300 copies worldwide. Release date April 5: 2019 Down Beat Rising Star of the Tenor Saxophone - Dayna Stephens is also globally recognized as a composer, arranger and educator. His new album 'Closer Than We Think' ruminates on how similar we really are. Stephens has chosen a set of songs that speak to our core as conscious beings regardless of origins. It features a new quartet with Emmanuel Michael, Kanoa Mendenhall and Jongkuk Kim.

Reinhard Goebel Complete Archiv box, disc 14.

Kurt Masur - The Complete Warner Classics Edition, disc 29.

The Decca Sound - The Piano Edition, disc 38. Also includes Mozart K450 from this:

Nice article.

Thanks.

This caught my eye. It's an upcoming reissue listed by Dusty Groove: https://www.dustygroove.com/item/163665/Sarah-Vaughan:Embraceable-You?incl_cs=1&no_incl_in=1&sort_order=release_date I found no listing with Vaughan in Mobley's discography on jazzdisco.org. The description on DG is, by their own admission, not helpful. I see that Mobley played with Dizzy in the mid-50's. Anyone have info on these tracks?

I didn't read others' responses. 1) Got that mid-60's go-go vibe. Weird mix of Sidewinder, harpsichord (actually low-quality piano), Archie Bell, and too-loud congas. It also sounds a wee-bit fast, like the tape sped up. Saxist is a bit frantic, trumpet tries to mellow the pace. I wish the scatter hadn't. 2) A baritone is always welcome. Pepper Adams? The way the trumpet swaggers makes me think it's his gig. Nothing really memorable, but it is energetic. My guess is mid-'70's on Muse. 3) Electric piano, electric bass. My guess is the alto was told during his first chorus "Cut the shit and play." Soprano is into snake-charmer music; wish he were into jazz. Trumpeter is pretty normal, and is a welcome relief. Was this some sort of mini big band, like Louis Bellson or Buddy Rich? 4) Bossa. I know this tune. Tenor is in command. Nice tone. I like this. Sounds a little like Dexter, but it's not him (too on the beat). Bass is nicely locked in. I'm thinking Johnny Griffin. 5) I know this tune, but not with just trumpet and piano. Is this Dizzy and Oscar? From the mid-'60's? I liked the conversation between the two musicians. 6) Drummer sounds like Jimmy Cobb. I liked this; trumpet-bari combos always sound nice. And brevity! 7) Pretty dreary. Not a lot of inspiration going on. I'm gonna guess Groove Holmes. 8. Now's The Time, jam session. Tenor is lively, alto also good, trumpet OK. Predictable but enjoyable. Sounds like a JATP show. 9) Another tune I recognize: My Little Suede Shoes. Is this Dexter? I like the band. Any tune with an "I Ain't Mad At You" quote is OK. 10) Groovin' High. Interesting wow and flutter on the piano; private recording? No idea who they are. Respectable rendition of the tune. 11) Night In Tunisia. Not the most interesting version, but serviceable. I liked the bassist. This almost sounds like Bill Evans trying to play bebop. 12) Sounds like a scratchy 45. Tenor out of the Hawk school. Organ sounds like Milt Buckner. They're having a good time. Bartender, bring me another! 13) Misty. Thoughtful rendition, if a little maudlin. The pianist tries to come up with something new to say, but doesn't quite make it. Is the alto Lee Konitz?

Fascinating. I love fresh thought.

That's the one! I had it with the yellow cover (but without "Special Price Series" banner): A really nice collection of ephemera. Thanks for locating that! "Joy Of A Toy" is one of my favorite albums.