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Decca - The Mono Years, disc 3. Also contains:

Probably my favorite box set packaging is from Rhino: "Beg Scream & Shout! The Big Ol' Box Of '60s Soul." The outer box is like a box that kids used to cart 45s around in, complete with plastic handle. Inside, each of the 6 CDs is in a sleeve designed like various labels' 45 paper sleeves. Instead of a booklet, it has a deck of cards, one for each artist. Each item is brilliantly designed to mimic the era. Bravo, Rhino!

Decca - The Mono Years, disc 2. Also contains:

Jim Keltner and Mike Watt?!?!? What's that like?

The tracks with Dodo are included in this Uptown release:

Deutsche Grammophon 111 - The Violin, disc 11.

Is this the cover you have? I have it on a Japanese CD with this cover:

Done. Didn't even notice auto-correct did that. I did prevent it from calling the album Hurricane.

Release date April 28: Blue Room: The 1979 VARA Studio Sessions in Holland features 2 recordings of trumpet/vocal icon Chet Baker at the VARA studio 2 in Hilversum, the Netherlands for the KRO radio program Nine O'Clock Jazz. The April 10th session feats. pianist Phil Markowitz, bassist Jean-Louis Rassinfosse, & drummer Charles Rice. The November 9th session feats. pianist Frans Elsen, bassist Victor Kaihatu, & drummer Eric Ineke. Limited 2CD includes an elaborate booklet w/ photos, liner notes, essays, & interviews.

https://www.amazon.com/Huracan-Cal-Tjader/dp/B0BSH9G3CQ/ref=sr_1_149?qid=1678287215&refinements=p_n_date%3A1249114011&rnid=1249111011&s=music&sr=1-149

September 16, 2023 in Austin. How does one buy tickets? SHAKTI ANNOUNCE NORTH AMERICAN TOUR Edit: Just realized that day is Rosh Hashonah, so I can't go. Sigh.

Ernie Wilkins is a very underrated arranger. And Ray Brown is no slouch.

Release date April 7: Already during Basie's lifetime, some of his most loyal followers formed the All Stars. The alto-saxophonist Marshall Royal, Basie's eternal concertmaster, took the lead in this. (Marshall probably played the same role for Basie as Johnny Hodges did for Duke Ellington. He passed away in 1995). The musicians performing that evening had for many years, some (like Royal) even for decades, co-fathered and influenced the Basie-effect, so important for the history of big bands in swing. Both trumpeters represent the different concepts that were always present side by side in Basie's orchestra: relaxed elegance (represented by Harry Edison, whom the world of jazz called Sweets for obvious reasons), and the hands-on severeness of Joe Newman. Besides Royal, who had always been one of the breathing jazz saxophonist like Coleman Hawkins or Ben Webster, here at the Fabrik the Kansas-City-veteran Buddy Tate and Billy Mitchell, who was more at home in modern bebop, invoke two other aspects of the Basie-universe. Benny Powell rounds out the spectrum of the wind section. As always in Basie's band (and also here) it manifests itself in full-bodied arrangements, and by supporting the soloists in the background. Nat Pierce, the pianist, delicately adapts to Basie's consistent frugality and restraint. Bassist John Heard and drummer Gus Johnson establish the rhythm-dimension of Basie's spell, even without the magician Green.

Release date May 15:

Release date April 7: There are millions of tales to be told of life in New York City. In every neighborhood, there are buildings that have witnessed generations of individuals, families, businesses, and organizations utilizing their communal spaces. The inconspicuous townhouse that sits at 64 East Seventh Street in the East Village conceals a hidden history that truly shows the changes of it's famous neighborhood over the building's 150 years of existence. // Writer/lyricist David Hajdu discovered the legacy of 64 East Seventh when the East Village was applying for the status as a historical district in New York City. (The East Village/Lower East Side Historic District was created by The New York City Landmarks Preservation Commission in October 2012.) Spellbound by the stories of the former occupants that he uncovered, Hajdu composed lyrics to a song cycle about the building, which he then entrusted to the capable hands of select composers and performers to bring to life as The Parsonage.

Release date April 21: The phenomenal new studio recording by spiritual jazz shaman Kahil El'Zabar and his legendary Ethnic Heritage Ensemble, ft. Dwight Trible & David Ornette Cherry. This is a tribute to the great spiritual jazz trumpeter & composer Don Cherry, opening up new connections to the wisdom of then ancestors & new spaces onto promising futures. This is spiritual jazz at its finest, dedicated to one of the greatest jazz figures in its history. 1. Don Cherry 05:57 2. Lonely Woman 09:15 3. Evocation 03:38 4. Degi-Degi 08:07 5. Sketches of A Love Supreme 06:42 6. Bop On 05:14 7. Holy Man 04:56 8. Well You Needn’t 06:14 9. The Opening 07:33 10. Harvest Time 07:28 11. Spirit Gatherer 10:33

Release date May 12: Callen Radcliffe Tjader, Jr., the master of Latin rhythms, was born of Swedish descent in St. Louis on July 16, 1925. He first attracted national attention when he joined the Lionel Hampton band. Cal played and recorded with several of Dave Brubeck's groups, and led his own band for a brief period, before joining George Shearing in 1952. It was during the Shearing period that Cal developed what was to become a lifelong love affair with Latin music. In 1954, Cal reformed his band and began a highly successful touring and recording career that resulted in over fifty albums and hundreds of concerts. Probably more than any other non-Latin musician, Tjader helped to popularize the fusion of Latin and jazz tempos. In 1978 he recorded these 6 tracks at the infamous Filmways Wally Heider recording studios in Hollywood, California. At the session was an all-star band including Gary Foster and Kurt McGettrick on saxophones, Robb Fisher on bass and Latin music legends Ponco Sanchez on congas and Willie Bobo on timbales. The recording has been unavailable for many years and now makes its return on CD and digital. Here's what the original album notes say about the session: The sound of the group remained authentically Latin, undiminished in explosive force. This album is characterized by its searing brass and exciting percussions. The insistent beat energized Latin dancers, while the interplay of basic jazz elements raised it above just good dance music. The major goal of this recording was to retain the essential live flavor of the music and performers. Close-miking techniques were not used on this recording. Instead, four overhead microphones plus a direct input for the bass were employed to capture the sound of eleven musicians together with the correct acoustic perspective between instruments. Listening to the playback of the recording session was a rewarding experience for all involved.

Release date April 21: Remastered, reconfigured and repackaged high energy live recordings from the 1940s & 1950s featuring the legendary Charlie Parker, backed up by other jazz luminaries including Dizzy Gillespie, Milt Jackson, Art Blakey and Woody Herman, with liner notes by Keith Emerson and Cory Weed.

Release date April 7: Hazel Scott was a jazz pianist and singer, about whom we hear very little these, but who was a stylish and respected performer, especially known for her jazz interpretations of classical pieces and styles, but also a noted composer as well as a fine vocalist with a sophisticated approach to the Great American Songbook. This 69-track 3-CD collection brings together a significant proportion of her recordings during the primary era of her career, before she largely relocated to France in the wake of McCarthy-ite persecution as a committed civil rights activist. It features solo piano recordings, plus piano and vocal performances with small groups and orchestras, so offers an entertaining cross-section of her output for the Bluebird, Decca, V-Disc, Signature, Columbia, Capitol and Debut labels. It includes most of the titles from her albums Swinging The Classics, A Piano Recital, Great Scott, Grand Jazz, Relaxed Piano Moods and Round Midnight, and features recordings with Charles Mingus, Max Roach, J.C. Heard, Sidney Catlett, Toots Camarata, Charlie Shavers, Ernie Caceres, Red Callender, Everett Barksdale and many others. It's a substantial and enjoyable showcase for a talented artist whose work deserves a much higher profile than she has generally enjoyed.

Release date April 7: Twenty-eight years ago, in March 1994, Mike Melito's fellow Rochesterian, Chuck Mangione, presented a traveling festival in upstate New York. He hired Roy McCurdy to play with Nat Adderley - with whom McCurdy had played on 7 leaders, plus another 19 with Cannonball Adderley, between 1966 and 1979 - in a band that included pianist Don Menza and Rochester guitar stalwart Bob Sneider. He assigned Melito to the other act, James Moody, in a unit including then up-and-coming pianist Danilo Pérez. Roy and I hit it off right away, Melito says. I'd obviously been checking him out for years. We played the same set of drums, same cymbals - and I learned a lot about sound. He didn't talk to me about anything. I watched him, and figured out what he was doing that I wasn't. I believe you're a student forever. I work a lot on my sound, on my hands, on my cymbal beat. My goal has always been to sound as authentic as possible as a player and strive for the same sound as my heroes. Melito offered this self-assessment after relating an encounter some thirty years ago with iconic drum conceptualist Max Roach, whom he'd studied closely since age 12, when Melito heard the 1947 Charlie Parker-Miles Davis-Roach classic Dewey Square on the first jazz record I ever bought on my own. Another Rochester friend, trumpeter John Sneider, had played Roach some tapes featuring Melito, and the maestro noticed. I met Max and he gave me one of the greatest compliments I've ever received, Melito recounts. He said, 'You really know how to phrase; the snare drum...' - and gave me a big hug. The 56-year-old master offers a highly personalized refraction of Roach's late 1950s investigations of the possibilities of 3/4 waltz time towards the end of his eighth self-released album, To Swing Is The Thing, a title that efficiently encapsulates the imperatives that have driven him through 40 years as a professional drummer.

Release date April 21: Louis Hayes' music is full of life and humanity. It is sometimes refreshingly simple and sometimes intricately complex, sometimes light, sometimes dark, but it is always interesting and consistently engaging. Through it all, Louis Hayes has always remained indefatigably optimistic and his latest Savant release is all those things. Throughout the album Hayes, a 2023 NEA Jazz Master, coaxes concise, well-conceived tracks from his players where everybody swings with loads of feeling, and no self-indulgence. From the first note to the last, Hayes creates performances that take veteran jazz listeners into deep jazz waters while at the same time allowing recent converts to safely wade into the invigorating flow of ideas. As difficult times often beget new beginnings, the COVID-19 quagmire gave birth to alto saxophonist Eric Alexander. To some, a tenor-to-alto switch may not seem to be a newsworthy matter, but for the initiated it's the stuff of headlines. An inveterate tenor at the apex of the scene for more than three decades, Eric put the alto away in his teen years and never looked back. "But with the dearth of opportunities to play during the pandemic, I started to work on it," he confesses. After successfully pitching the idea of using his second saxophone-with-strings project as a debut on alto, the present recording is quite simply astounding. Working with his regular rhythm section and adding ace string arrangements, this altoist delivers one revelatory performance after another.

Release date March 17: 2023 release. For his third Mack Avenue Records release, 5-time Grammy Award-winner Billy Childs assembles an all-star quartet with trumpeter Ambrose Akinmusire, bassist Scott Colley, and drummer Brian Blade. On The Winds of Change, the critically acclaimed pianist/composer offers 5 brand new original compositions alongside exhilarating arrangements of Chick Corea's "Crystal Silence" (originally on Corea's 1972 ECM recording of the same name with vibraphonist Gary Burton) and Kenny Barron's "The Black Angel" (originally on trumpeter Freddie Hubbard's 1970 Atlantic recording of the same name) to push the creative boundaries of the group and inspire a collective new sound to pay homage to jazz legends and the artistry.