mjzee

OK. I had forgotten about the funky/confusing structure of the book. Your extract was from page 330 (in the "Chronology" section). I looked at page 743 (in the "Discography" section). The Discography section only lists the 9/30/65 Penthouse date and the 10/1/65 Camelot Sound Studios "Om" date. We will see whether additional tapes emerge from that week.

There was a Japanese CD reissue in 2013.

I was referring to the book The John Coltrane Reference:

And it's pricey (currently $79.95 on Amazon). Still, I'm glad to have it.

We should have a similar thread for those late '70's series, from Columbia, Verve, and especially Savoy, that provided new covers for '50's dates. I loved a lot of these covers, and considered them significant improvements over the tired '50's stylings. Here are a few that I liked:

The book is pretty good about researching newspaper ads of the time. I think if there were other dates, it would have been noted.

This section of the interview may be of interest: At 16, I left home to play professionally and became a studio shark in London. But after 18 months, I’d had it. I left for Antwerp, Belgium, and got a gig with a band playing free jazz. I also started to play with some really good British musicians. That’s when I made a decision to change my life. In the summer of ’68, I jammed with drummer Jack DeJohnette and bassist Dave Holland in London. Jack taped the session. Back in New York, he played it for drummer Tony Williams, who needed a guitarist for his group, Lifetime. He called me. The night I arrived in New York City, I went to see Tony, who was playing with Miles Davis at Club Baron in Harlem. When Miles came in and passed me, he whispered my name, “Johnnn.” How did he know my name? I was thrilled. The next day, he invited me to record on his album “In a Silent Way.” Miles called me regularly.

I have the book. The only dates listed are 9/30/65 @ the Penthouse, and 10/1/65 @ Lynnwood, WA (which was released as Om). Re the Penthouse date, the session notes state: "Radio broadcast, 9:30 - 10:00 p.m. The broadcast was probably the first set of the night (although this isn't confirmed; the newspaper ads don't indicate when the first set was scheduled to start). Simultaneous live recording session by Jan Kurtis, who recorded most if not all of the group's performance on this night." The book lists the concert as follows; I've indicated which titles are unissued: untitled original (25:06) uni bass duet (12:04) uni Cosmos (10:51) bass solo (00:15) uni thumb piano solo (02:40) uni Evolution (35:58) Tapestry in Sound (inc) (06:07) Out of This World (23:40) Body and Soul (21:27) Afro Blue (inc) (34:40) Afro Blue (ending) (inc) (17:33) uni Lush Life (10:07) uni My Favorite Things (inc) (10:23) uni

No alternate cover for Mr. Natural.

Again, not "Reid Miles" style: I always thought this one was ugly: No alternate cover for Landslide. No alternate cover for the Ike Quebec, either.

Just to nitpick, the Dexter box came first. On the back of The Lost Sessions, it says "All selections, except #9 and #12, previously unissued." (#12 was the Herbie Hancock track that appeared on his box set.)

Different times, different circumstances. The LT series was a relatively cheap and easy way to release a lot of albums in a short time span. All covers used the same template, slap on a random photograph, and use cheap pressings. The liner notes were great, but they could’ve used a proofreader. Today, of course, it’s very different. MusicMatters proved that people are willing to pay top dollars, so it makes sense to invest in better, more “appropriate” graphics.

New Time Shuffle has never had an updated cover. Not sure this qualifies as "Reid Miles style": I'll try to do some more later, unless someone else wants to take over.

A huge task, but let's get started: In Memory Of was never released with updated cover art. Confirmation was never released with "period-appropriate cover art," but there was this:

Still waiting for DG to receive another shipment of the Cowell.

Amazon now says this is "currently unavailable." Maybe the release date was pushed back.

Not jazz, but for anyone with a sweet spot for this type of folk and country, this one really hurts. https://www.rollingstone.com/music/music-country/nanci-griffith-dead-obituary-1212043/

There's a nice interview with John McLaughlin in today's Wall St Journal. Here's the link, but it's behind a paywall: https://www.wsj.com/articles/john-mclaughlin-guitarist-11628611105?mod=searchresults_pos1&page=1 If you can access it, it's worth checking out. Embedded in the article is a video of his band playing Straight No Chaser.

Not really about plans; more like a permanent part of the new landscape. I use my iMac as a music source, similar to a CD drive or turntable. With a DAC and an Airport Express, I play my music through my stereo. Because I rip everything using Apple Lossless, it's all CD quality. It's more convenient to find an album on iTunes (now Music) than to shuffle through boxes looking for a CD or LP. My system can also play music throughout my house, since I've wirelessly connected additional Airport Expresses and Apple TVs attached to powered speakers. It really didn't cost that much to achieve. Apple Lossless files aren't as big as CD (AIFF) files, but they are pretty big, so every so often I need to transfer my music to a larger EHD. Also, EHDs fail every few years and require replacement. Therefore the question: does a powered EHD have any inherent advantages over the smaller, more portable ones?

While I use EHDs for backup, I also use my main one to play music from my computer throughout the house. I therefore wonder whether a powered unit will be more responsive in playing the music files. To put my initial question a different way: if the smaller, lighter units are just as good as the larger, bulkier ones, why do they offer both? What does the larger one do that the smaller one can't?

Many of us have our digital music collections on external hard drives (EHDs). There seem to be two styles of EHDs: larger boxes that are powered from an electric socket, and more portable ones that are powered via the same USB connection through which the data flows. I puzzle over the uses and limitations of each. Should my main collection be on the first type, with an automated backup on the second type, or does it not really matter? There are really no differences as to capacity, and I don't think one type fails more than the other. Is the first type somehow faster or more responsive? Example of the first type: Western Digital My Book Example of the second type: Western Digital My Passport

There's probably a false dialectic going on here. It's not like a listener had to choose between Dex and Sonny - that listener could buy records from both. I believe Dex dug Sonny's playing. But Dexter's popularity was even more remarkable when you consider he was off the scene for much of the '70's, while at the same time you could buy tons of records of Stitt's and see him when he toured. Even some of Dex's Blue Notes were hard to find during the mid-70's. As for the promotional push that accompanied Dexter's reemergence, don't forget there was a similar push given at the time to Johnny Griffin (Dex and Griffin even played together at Carnegie Hall; Dex told the audience they would hear some "European soul tenor"), with more limited success; the promotion of Dex was not guaranteed to succeed. So all props to long tall Dexter!

The Jordan is already available on Capri's website: https://caprirecords.com/html_index.cfm?page=item_page&itemoid=110733&itemname= Sheila Jordan Comes Love - Lost Session 1960 As an aside, I have what I imagine is one of the first releases on Capri. Robert Yelin was a guitarist who shopped at the jazz record store where I worked. He was a very friendly guy. An album of his was released on Capri in 1983, and he gave me a copy which I still own. It was called Night Rain.

There's an intriguing but ambiguous reference to this topic in the updated introduction to Jack Chambers' "Milestones" biography (1998 edition): "In January 1989, a few months before executing the will, Davis had been hospitalized in Santa Monica, California. Hospital stays were habitual for him in these years, but his confinement in Santa Monica was thrown into high relief by a tabloid report that Davis was suffering from AIDS and would probably never leave the hospital alive. The Star (February 21, 1989) cited unidentified sources - no surprise there - but implied that Cicely Tyson was one of them. It made sense. Tyson had filed for divorce from Davis exactly a year earlier, and the settlement negotiations were endless and acrimonious. Davis did eventually leave the hospital, despite the Star's prediction, and resumed his career. He shrugged off the allegations about AIDS, but he confirmed Tyson's role in spreading the rumors. One exchange on the subject, in an interview with Jennifer Lee in Spin (December 1991), included this dialogue: "LEE: Miles, I want to ask you a sensitive question. "DAVIS: What? "LEE: Do you have AIDS? "DAVIS: Why are you asking me? "LEE: Well, it's a heavy rumor about you - and what if I wanted to sleep with you someday? "DAVIS: My ex-wife started that rumor. She called up women and told them. "In the end, the official causes of death were pneumonia, stroke, and respiratory failure. The AIDS virus was not cited in medical announcements." What I find intriguing is it seems that Davis didn't directly answer yes or no.

Sorry to hear that, Larry; a true loss. Our golden retriever died last year age 10 from cancer. We knew all along that Goldens are prone to cancer, with lifespans from 8-12 years.