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Release date August 5: There is something to be said for moving the music forward while remaining deeply rooted in and respectful of the tradition. North Carolina-born jazz pianist Thomas Linger threads that needle masterfully on his debut album Out In It. Joined by an all-star cast of musicians (Peter Bernstein on guitar, Yasushi Nakamura on bass, and Joe Farnsworth on drums), Linger's thoughtful and inviting musicianship leaves the listener looking forward to where he'll take the music next. Linger's debut album is all about feeling. Never mind the often-virtuosic performances or the thoughtful compositions. Out In It is jazz as it should be, swinging and cohesive, and we are all lucky to hear it.

Release date July 8: Product Description Michael Dease keeps the music moving forward toward the "Best Next Thing" on his ninth album for Posi-Tone. With clear purpose, Trombonist Michael Dease gathers together an assemblage of exceptional musicians to help him interactively explore the essence of the blues and reframe the abstract truths of jazz as the "Best Next Thing" for today's audience of listeners. Providing support in bringing this vision to fruition, the session features an all-star lineup of musicians including trumpeter Alex Sipiagin, alto saxophonist Rudresh Mahanthappa, pianist Renee Rosnes, bassist Boris Kozlov, and powerhouse drummer Rudy Royston. As a band leader, Dease makes sure the entire session stays insightfully straight forward and refreshingly melodic throughout while he conducts his topnotch crew through a series of his new compositions and some inventive arrangements of selections crafted by Dease's musical mentors. With this latest release, Michael Dease not only confirms his status as a virtuoso soloist and one of the biggest stars in jazz today, but also demonstrates that he is clearly an artist for jazz fans to rely upon to bring them the "Next Best Thing" in jazz for years to come. About the Artist Michael Dease is one of the world's eminent trombonists, lending his versatile sound and signature improvisations to over 200 recordings and groups as diverse as artists David Sanborn, Christian McBride, Michel Camilo, and Alicia Keys. Born in Augusta, GA, he played the saxophone and trumpet before choosing the trombone at age 17. In 2001, Dease moved to New York City to become part of the historic first class of jazz students at The Juilliard School, earning both Bachelors and Masters degrees, and quickly established a reputation as a brilliant soloist, side musician, and bandleader. Best Next Thing (Posi-Tone, 2022), Dease’s newest release, his ninth on Posi-Tone, gathers together an assemblage of exceptional musicians to help him interactively explore the essence of the blues and reframe the abstract truths of jazz as the "Best Next Thing" for today's audience of listeners. Dease, a winner of Downbeat Magazine’s Critic's Poll for Rising Star Jazz Trombonist and multi-Grammy award winner, is also a sought-after lead, section and bass trombonist with today’s leading jazz orchestras. His experiences include bands led by Christian McBride, Roy Hargrove, Nicholas Payton, Charles Tolliver, Rufus Reid, Jazz at Lincoln Center Orchestra and the Dizzy Gillespie All-Star Big Band. However, it is on the frontline of quintets and sextets led by master musicians like The Heath Brothers, Winard Harper, Renee Rosnes, Bill Charlap, Claudio Roditi, and Lewis Nash, where Dease has revitalized the trombone’s image. Not content to simply improvise, Dease arranges and composes for many different bands, constantly adjusting his tone and timbre to add just the right flavor to the music. Dease’s unique blend of curiosity, hard work and optimism has helped him earn worldwide recognition, including awards from ASCAP, The International Trombone Association, Yamaha, Eastern Trombone Workshop, New York Youth Symphony, Hot House Magazine, Michigan State University, among others. Dease was profiled in Cicily Janus’ book, The New Face of Jazz: An Intimate Look at Today’s Living Legends (Random House). His experience in the studio has led him to produce several recording sessions for emerging artists, often composing and writing liner notes for the releases. Dease’s singular talent has made him an effective and prolific teacher, resulting in invitations, master classes and residencies at University of North Texas, Scranton University, University of Iowa, Florida State College, Broward College, and many institutions abroad. He serves as Associate Professor of Jazz Trombone at the renowned Michigan State University jazz program, and has also been on faculty at Queens College - CUNY, The New School and Northeastern University. Many of Dease’s current and former students are enjoying successful careers in the music world. Always an informed, but forward-thinking musician, Dease learned the craft from trombone legends Wycliffe Gordon and Joseph Alessi. His associations have run the entire spectrum of musical experience: Alicia Keys, Paul Simon, Paul Schaffer and the CBS Orchestra, Elton John, Neal Diamond, Illinois Jacquet, Slide Hampton & The World Of Trombones, Fred Wesley, Maceo Parker, WDR Big Band, George Gruntz, Billy Harper, and numerous others. Dease enjoys spending every possible minute with his extraordinary wife and Professor of Percussion at MSU, Gwendolyn Dease, and their daughters Brooklyn & Charley. He is also an aspiring painter, sports car enthusiast, amateur coffee snob, 80's horror movie aficionado, and enjoys scooting up and down the Michigan highways in his sports car.

Release date July 29: Hellbound Train is a retrospective from Steve Tibbetts with music selected by the guitarist from his 40 years of recordings for ECM, neatly divided into electric and acoustic chapters. With its liquid melodies, textures, hypnotic patterns, and pulsations subtly influenced by music of many cultures, it's an ideal introduction to his unique body of work. At different times Tibbetts might seem closer to minimalism, alternate rock, or ambient music, yet his artistic signature is unmistakable. Release date July 8: Siwan, the transcultural, trans-idiomatic musical collective led by Norwegian keyboardist/composer Jon Balke, continues along its special path with new music inspired by the creative spirit of Al-Andalus. The ensemble weaves lines of communication between musicians from multiple traditions and locations. Among the texts set by Balke on Siwan's third album (and persuasively sung by Algerian vocalist Mona Boutchebak) are verses by Ummayad princess Wallada bint al-Mustakfi and contemporaries.

Release date July 15: There have been a number of famous jazz artists whose offspring have followed their father's footsteps into music. Think only of Ellis Marsalis and his sons, Dewey and Joshua Redman, Papa John and Joey DeFrancesco, Bucky and John Pizzarelli, Walter and Nicholas Payton and Harry Connick Senior & Junior. But for every famous father in jazz there are an unknowable number of fathers who inspired and nurtured their progeny's talent from the sidelines and encouraged them to go into music and pursue their dreams. Such a man was McDonald Chestnut whose internationally renowned son, pianist Cyrus Chestnut, remembers his dad with this touching memorial, My Father's Hands. By carefully choosing a wide range of repertoire - including originals, standards and jazz classics - and with the great bassist Peter Washington and the legendary Lewis Nash on drums, Cyrus has crafted not just an intensely personal reminiscence but a truly beautiful jazz album in all respects. The material is strong, the sequencing uniquely satisfying and the performances display a unity of conception and execution that can only be called remarkable. Top it off with the exceptional recording quality and you have not only another fabulous jazz record, but a lasting and moving tribute to a father from his son.

Release date July 1: TWO CD SET. Guitar virtuoso, performer and composer of jazz and jazz- rock. Master of guitar improvisation, known in the jazz world as the "Godfather of Fusion". Larry's highly acclaimed improvised guitar stylings and compositions positioned him as one of the first innovators of the jazz-rock fusion movement in the late 1960's. His world renowned career spanned over 50 years as he improvised his life in music on the road and in the studio. You'll never forget Larry's sound or his personality. A true legend and well established in the history books of jazz music, Larry knew and played with many of the well known jazz and rock greats of the 20th and 21st Centuries such as Jimi Hendrix, Eric Clapton, Chet Atkins, Chico Hamilton, Gary Burton, Chick Corea and Miles Davis. Larry's "Last Swing in Ireland" (SKU: SJPCD641) was his last visit to the Emerald Aisle and he made a lasting impression at Hellfire Studios and The Sugar Club with his favorite Irish rhythm section, Kevin Brady and Dave Redmond in May of 2016. They rock and they swing and everything in between.

Release date July 15: Jazz writer Walter Kolovsky has said that Friday Night In San Francisco "may be the most influential of all acoustic guitar albums." LPs of it have been a demonstration staple on turntables around the world for over 40 years. To celebrate the lasting impact of this singular album and the legendary concert that it represents, Impex Records is proud to announce the long-awaited follow up: Saturday Night In San Francisco. Working with hours of original 16-track live session tapes, Al Di Meola and his team have brilliantly curated this musical tour-de-force, bringing to life for the first time on LP, SACD-Hybrid and CD the explosively virtuosic final performance of Di Meola, John McLaughlin, and Paco de Lucia at the Warfield Theater in San Francisco, December 6, 1980. Impex worked carefully with Di Meola, mixing engineer Roy Hendrickson (SPIN Studio), and mastering engineer Bernie Grundman to recreate the magic of Friday Night In San Francisco so these never-before-released solos and trios burst out of your system with striking clarity, dynamics and technical brilliance now available on Compact Disc!

It was Ornette's composition. The MJQ did a nice version of it.

That's how Rhino handles their Grateful Dead live releases: customers prepay many months in advance (in the case of their quarterly releases, up to a full year in advance). It works if customers are willing to participate. Good to know; thanks.

Interesting; could be. He had an association with Chick Corea - see the link. Could the tenor be Ernie Watts? https://www.amazon.com/John-Dentz-Reunion-Band/dp/B000066E7T

I saw that. The Wikipedia guy seems steeped in the classical tradition and culture, so it seems unlikely he also played free jazz tenor. Not impossible, sure, but highly unlikely. The Perla tape also lists no recording date. I see this listing in Corea's discography; could it yield some clues?: Elvin Jones Quintet Joe Farrell, tenor sax, flute; Frank Foster, tenor, soprano sax; Chick Corea, piano; Gene Perla, bass; Elvin Jones, drums. "John Coltrane Memorial Concert", "Town Hall", NYC, September 12, 1971 Shinjitu PM Records PMR-004; Jazz Door (G) JD 1255 Simone - * PM Records PMR-004 Elvin Jones Live * Jazz Door (G) JD 1255 Elvin Jones - The John Coltrane Memorial Concert

Listening now to the Corea tracks, and am very curious about Pete Rose on tenor and John Dense on drums. Google searches reveal nothing on either. These guys sound too assured and professional to be unknowns. Anyone here willing to venture a guess?

Who funds archive.org?

Thanks for posting that article.

I liked this: "He first performed in Canada in the late ’50s and realized he would stand out far more in a country where homegrown rock still barely existed. Canadian musicians had often moved to the U.S. to advance their careers, but Hawkins was the rare American to try the reverse." And this: “When the music got a little too far out for Ronnie’s ear,” Robertson told Rolling Stone in 1978, “or he couldn’t tell when to come in singing, he would tell us that nobody but Thelonious Monk could understand what we were playing. But the big thing with him was that he made us rehearse and practice a lot. Often we would go and play until 1 a.m. and then rehearse until 4.” Finally, it made sense to me that Dylan, growing up near the Canadian border and probably hearing Canadian radio, was aware of the Hawks and pulled them for his touring band.

At the last record show I attended, vinyl was really expensive (regardless of how trashed the record or cover was), but CDs were pretty cheap (4 for $10) with a great selection. So I bought CDs.

Original cover of Hank Jones - The Trio With Guests: Reissue cover: Original cover of Kenny Burrell In New York (Muse): Reissue on 32Jazz:

Listening now to the RVG. Excellent stuff; everyone on high intensity, and Pretty Purdie keeps things together. So enjoyable, or as the OP said, me likezzzz...............

I really liked the '70's-'80's attempt to create new covers for '50's LPs, many of which were butt ugly (think of Savoys). In a way, it was more respectful to the music. I thought many of the 32Jazz covers were lively (and even there, many of the Muse covers they replaced were ugly). 32Jazz also faced a new challenge, which is how to reach out to the prospective buyer given the 5"x5" dimensions of a CD package.

Covers by Jim Flora?

It could be that something changed the permissions. This sometimes happens when the external hard drive is in the process of breaking (if it fell to the floor recently, that could be a tipoff). In a Finder window, go to a track on your EHD that iTunes is now denying you access; right-click it and choose Get Info. At the bottom of the window that opens, under "Sharing & Permissions," see whether you can read and write. Do you backup your EHD regularly? If so, try to open the backup in iTunes, and see if the problem is resolved. If it is, you should probably move your music collection to a new EHD.

In which country were you when this happened? Could be the cover you remember was of a foreign release.

What changed - what triggered this, do you think? Did you recently upgrade your macOS to version 12.4, or was it something else?

No, I think he walked out empty handed. I had a similar uncomfortable situation with Mel Lewis a few years later, in the video tape department. Sony released maybe 10 titles on Betamax (beta only, no VHS). They were pretty good; I remember one was an Alberta Hunter. Another was a Mel Lewis title. One day Mel confronts me in the store: "Sony doesn't have the rights to release this! Where did you get this?" What could I tell him? Read the fine print on the back, it's a legitimate Sony release, take it up with them.

Joe Chambers is a really interesting drummer. Thoughtful, can play both in and out. I wonder why he hasn't recorded more often. Maybe his being an educator limited his performing time. Here, I'll trot out my one and only Joe Chambers story. I was a young kid working in a jazz record store in Manhattan in 1978 or so. This was when the digital craze just started (recording in digital but releasing on vinyl). There were almost no digital albums available in the U.S. Denon Japan recorded many albums for the Japanese market, and these were being imported into the U.S. One was Joe Chambers Plays Piano. I was behind the register one day, and Joe Chambers walks up to me with this album. He introduces himself, then says "Who did you buy this album from? This is not licensed to be sold in this country! You're not allowed to sell this album!" I'm just going "hamana, hamana, hamana, I don't know sir." He kept asking, but I had nothing to tell him. Eventually he walked out.

Listening now to her Prestige twofer, and really enjoying it. I've never heard a harp sound bluesy before! Very tasteful and swinging, and Frank Wess is a perfect accompanist. The overall effect reminds me of the MJQ, but I like this more. I can also hear the comparison to Kenny Burrell. Mark Stryker: do you mention her in your Jazz In Detroit book?