mjzee

Nice. Worth watching. I liked the moment (around 2:00) reminiscent of the cover of Mobley's No Room For Squares.

I wonder if Laurie can release the 1953 material with Sonny Clark: Art Pepper With The Sonny Clark Trio Art Pepper, alto sax #1-3,5,6; Sonny Clark, piano; Harry Babasin, bass; Bobby White, drums. "The Lighthouse", Hermosa Beach, CA, March 30, 1953 1. Brown Gold Straight Ahead Jazz SAJ-1001, (J) 24EL6005; Vantage (J) NLP-5012 2. These Foolish Things - 3. Tickle Toe - 4. Tenderly - 5. Strike Up The Band - 6. Night And Day - Art Pepper, alto sax; Sonny Clark, piano; Howard Rumsey, bass #2; Harry Babasin, bass #1,3-5, cello #2; Bobby White, drums; John Levine, congas #2. 1. Deep Purple Straight Ahead Jazz SAJ-1004, (J) 24EL6005; Vantage (J) NLP-5012 2. Bluebird Straight Ahead Jazz SAJ-1004, (J) 24EL6006; Vantage (J) NLP-5013 3. S' Wonderful - 4. Pennies From Heaven - 5. Holiday Flight Straight Ahead Jazz (J) 24EL6006; Vantage (J) NLP-5013; Venus (J) TKCZ-79005; Vantage (J) NOCD-5629; SSJ (J) XQAM-1624/5 * Straight Ahead Jazz SAJ-1001 Art Pepper With The Sonny Clark Trio - Straight-Ahead Jazz, Volume One = Venus (J) TKCZ-79005 Art Pepper With Sonny Clark Trio - Holiday Flight - Lighthouse 1953 = Vantage (J) NOCD-5629 Art Pepper Quartet Featuring Sonny Clark Live At The Lighthouse '53 = SSJ (J) XQAM-1624/5 Art Pepper With Sonny Clark - Live At The Lighthouse 1953 - Holiday Flight * Straight Ahead Jazz (J) 24EL6005 Art Pepper With Sonny Clark Trio, Vol. 1 * Vantage (J) NLP-5012 Art Pepper With Sonny Clark Trio, Vol. 1 * Straight Ahead Jazz SAJ-1004 Art Pepper Quartet - Straight Ahead Jazz, Vol. Two = Venus (J) TKCZ-79005 Art Pepper With Sonny Clark Trio - Holiday Flight - Lighthouse 1953 = Vantage (J) NOCD-5629 Art Pepper Quartet Featuring Sonny Clark Live At The Lighthouse '53 = SSJ (J) XQAM-1624/5 Art Pepper With Sonny Clark - Live At The Lighthouse 1953 - Holiday Flight * Straight Ahead Jazz (J) 24EL6006 Art Pepper With Sonny Clark Trio, Vol. 2 * Vantage (J) NLP-5013 Art Pepper With Sonny Clark Trio, Vol. 2

Thank you; fixed.

It just occurred to me: 1) Sony Legacy could release a box set "Bud Powell - The Complete Columbia, RCA and Vogue Albums." It could contain A Portrait Of Cannonball, A Tribute To Cannonball, Summit Meeting At Birdland (Bird), One Night At Birdland (Bird), 2 tracks with Sarah Vaughan from After Hours, Swinging' With Bud, Strictly Powell, and various Vogue tracks including the Oscar Pettiford Memorial Concert and the Kenny Clarke material on Swing. Also, the Bud Powell Trio, released in the U.S. on Roulette, were originally recorded for Vogue. Did the rights for that go to Parlophone/Warner, or do they remain with Vogue? There's also a track on an RCA Italy album "Various Artists - More Jazz At Comblain La Tour!" from 1961. 2) Warner could release a "5 Classic Albums" set: Bud Powell in Paris (orig. Reprise), Bud Plays Bird (Roulette), The Return of Bud Powell (Roulette), Inner Fires (Electra Musician), the track from Mingus At Antibes, and maybe the Vogue material if Warner now has the rights.

Interestingly, The Blues And The Abstract Truth is being re-released on vinyl on June 25.

https://chicago.suntimes.com/2021/5/12/22432919/bob-koester-jazz-record-mart-delmark-records-obituaries

I picked this up recently from Dusty Groove. It is great! Full, lush tone, propulsive, great band; makes me want to hear more Buck Hill:

Release date May 21: Never before entirely released concert recorded on 9 November 1969 at the Berlin Philharmonie. These emotionally intense concerts are all the more remarkable because of the artists high wire act, a balance constantly maintained throughout between her professional savoir faire (a vocal technique at the apex of her art and her interpretive skills) and her emotional abandonment to the moment as she gives her all. The entire performance, with Vaughan pouring out her heart, seems in hindsight at once perfectly timeless in terms of its formal classicism yet thoroughly in the fleeting moment. At the end of the day, these recordings are invaluable. As Vaughan explores the most lyrical, emotional aspects of her art, she overwhelms her listeners as she bares her soul. Her virtuosity in using her imagination to deploy all her technical skills and the extraordinary range of her tessitura are restrained rather than ostentatious. She literally reaches the stars and gives us a unique lesson in music as a form of the art of living.

Release date May 28: George Cables should be declared a National Treasure. As a pianist he is surely second-to-none on today's jazz scene. Listen only to "A Valentine for You" on Cables' current offering to hear what a jaw-dropping beauty of tone he can produce from the pile of wood and metal we call a piano, and how much critical mass is behind every sonorous voicing of his chords. As a musician he possesses endless imagination and creativity, shown by his strikingly new takes on tunes we thought we knew, particularly the title track, "Too Close for Comfort," which retains little trace of it's pop song origin. As a composer he has quietly amassed a catalog of works of extremely wide range and extraordinary quality, such as his compositions on this new release, "Circle of Love," "This is My Song," "Klimo" and the aforementioned "A Valentine for You." And finally, the album's cover photo perfectly captures George Cables the man - full of boundless energy, a love of his instrument and the music he makes on it and an impish sense of humor, evidenced by his titling the record Too Close for Comfort during a pandemic where social distancing has become the order of the day. The artist Edward Hopper said, "Great art is the outward expression of an inner life of the artist, and this inner life will result in his personal vision of the world." That would explain why the world according to George Cables is such a wonderful place to be.

Release date June 25: By 1991, the world’s most celebrated trumpeter could look back on five decades of musical evolution – his own, and that of the world around him. Miles Davis had found ways of marrying jazz with classical ideas, then later R&B, rock and funk, producing hybrid offspring that shaped the course of popular music and had come to define his legend. In 1985, he’d left Columbia after thirty years to sign to Warner Bros. Records, a label riding high with best-selling artists like Madonna, Van Halen and Prince, with whom he had a mutual admiration and friendship. - Miles Davis’s lifelong love for France is well-documented, and in July 1991, he became a Knight of their Legion of Honour. Davis received the award from French culture minister Jack Lang, who described him as: "The Picasso of jazz." A few days before, he played this electrifying set at the Vienne Jazz Festival with the Miles Davis Group. He passed away two months later in September 1991. - Miles Davis’ performance at Jazz a Vienne on July 1, 1991 became one of his final live performances before he passed away on September 28, 1991, and this previously unreleased set includes two songs written by Prince, “Penetration” and “Jailbait”.

32Jazz bought Muse's masters, and Denon bought 32Jazz's masters, so the tape, if it still exists, is now in Denon's possession.

Very sad to hear; RIP. I was fortunate enough to hear him with a group put together by Don Sickler; also in the group were Billy Higgins, John Ore, James Spaulding, and maybe a tenor player. A friend told me that Fuller only had one lung; true? Anyway, another of the greats gone.

Could it have been the Five Spot in NYC? (see upper left corner)

Has anyone seen the DVD?

I agree, contracts are interesting. Re the existence of a Verve contract, it could have just been a one-off (or two-off) agreement. I think usually for an exclusive contract, it requires a certain number of recordings, regardless of how long it takes (remember that Herman Lubinsky wouldn't release Wilbur Harden, and Orren Keepnews joked that he signed Sonny Rollins to a standard contract for Milestone, knowing full well how long it would take him to fulfill it), so if Verve had Green to an exclusive contract, he would have had to fulfill it after he came back on the scene (unless Verve released him). Verve seemed to be doing a lot of those one-off dates at that time, such as the Donald Byrd "Up!". Let's not overlook that it might have been a pick-up organist for the Iron City date. That would explain why the playing is not very distinguished. Almost definitely, Buck Jones and Jimmy Watson were local Indy guys.

About time Braxton got Artie Zim to help with the marketing!

I'm still not seeing the incentive for anyone in this production chain to say it was Patton when it was actually Young. It's not like one was a bigger draw to record buyers than the other; in fact, in 1972 (the year of release), Young may have been a little "hotter" due to his work with McLaughlin, Santana, etc. By that logic alone, it is probably Patton on Iron City. Another interesting question: how did a date from 1965 or 1967 wind up in Cobblestone's hands in 1972? Who was holding it in the interim? Especially since Green was paid for the date, why would it take so long for the backer to get a return on his investment? If it was held up for legal reasons, then there would have been a wider knowledge of the tape's existence.

There was a similar cranky review in WSJ. But I liked some of the reader comments: "Unfortunately, this review tells us more about the reviewer's political disagreements with Morrison than it does about the album itself." "Van’s the man, and it seems he’s paying pretty close attention to contemporary culture, but the author doesn’t seem to understand the Blues." "I have been a Van Morrison fan for 55 years and I have always had the sneaking suspicion that Morrison was a closet Capitalist. He definitely believes in a free market and his anti establishment, anti authoritarian streak must grate on all of those left wing music reviewers who still cannot admit that they themselves are the establishment and the authoritarians." "I guess his gripes aren't intersectional enough to warrant a favorable review." "Yep, if Van were singing the praises of BLM and Critical Race Theory, or looking for the bogey man of White Supremacy, the reviewer would praise the album as if it were by Beyonce or Lil’ Wayne. Instead, because Van is writing lyrics from right of center, it is derided. It’s is sad that everyone at the WSJ not on the editorial side is so SJW biased. Rock music used to be about criticizing “the man” and those in power. Now when an artist criticizes the government and its policies, a double masking, restaurant avoiding, grocery decontaminating, basement dwelling critic defends “the man” while pillorying the artist. Sad how times have changed." "Songs in the key of "the lockdowns were not even remotely close to worthwhile." He is correct. The lockdowns were not even remotely close to worthwhile. An Actuarial Society of South Africa study estimated the South African lockdowns caused 29 times more harm than benefit in their country." "I imagine that if Van Morrison had, instead, put out an album praising Biden and Fauci, asserting systemic raz-esm and commending politicians for the lockdown, the reviewer would have loved it. Pop music, as elsewhere, is an echo chamber of unimpressive undercooked groupthink. Deviate from the "truth" at your own peril."

Excellent!

Just received these from Tommy's Jazz:

Photo by Roy DeCarava, 1960:

Interesting that the Mingus is coming out. One would have thought that the original tapes would have been destroyed in the 1978 fire.

Great stuff! Thanks for letting us know.

Listening now to this:

Albert Marx licensed his productions to other labels, but I guess copyright reverted back to him after a period of time. There was a Clare Fischer on Atlantic and a Marty Paich on WB, among others, that were reissued on Discovery in the '80's.