romualdo

I asked MC back in the 90s for a Hutcherson set but he thought it would be difficult to find a cutoff point (I suggested a few & he thought it was reasonable but it never came to be) - this is way before the release of the 70s Select set. He was interested so maybe now with the new revival of BN Mosaics he may actually go for a Hutch set.

the Chambers/Kelly set has one & a half CDs of the Frank Strozier Quintet with the amazing Booker Little including a couple of previously unreleased alts - one of the main reasons I picked up the box was to have all of the Strozier/Little material in one place

reply from Michael via Tom Lord - I presume nut = but Hi Stephen, Here’s Cuscuna’s reply: “News to me, nut entirely possible. There were Blue Note geeks lurking in BN offices across the planet!” I have put the German release in the footnote to session #P865. Thanks, Tom

Agreed, i was also thinking this as i was posting & looking at the the label image

I sent this information to Tom Lord (Lord Discography) who has just replied & has also passed this onto Michael Cuscuna for his comments/opinion

wow!! must have missed this initially - what a find indeed

all great material there Someone should snap up the Chambers/Kelly set - not easy to come by

thanks, will do Ah yes, I should have thought of them - I did my first order (Lacy LPs & two Threadgill CDs) with them last month (after a break of a few years after they commenced charging for shipping unless it was a massive order) Thanks

Anyone in the UK know where I could source my Jazz In Britain & British Progressive Jazz CDs - I've downloaded many of them (I'm a subscriber) & burnt them to CDr but occasionally I want to get the actual CD or rarely an LP version. Been sourcing them via Dusty Groove (yes, Chicago!!) as the shipping costs were reasonable but over the past few months that has changed. Also buying them via JIB bandcamp, the shipping costs to Australia are ridiculous per CD. I did do a one off bulk order from JIB (not via Bandcamp) last year. I also purchase from Honest Jon's but they don't stock the JIB or BPJ releases.

why don't you contact him & find out directly - contact details below (hope they're still current/valid) https://chambers.artsci.utoronto.ca/

let's talk about Steve - been meaning to post re two new Ictus LPs recently released "The Ictus Archives, Vols 1 & 2" - live Udine region, Italy 1976, probably Centazzo's recordings 80% (7 of 9 tracks) of both LPs is Lacy solo material, previously unreleased except for 1 track (trio with Carter & Centazzo, previously released on an Ictus CD). The SQ is stunning IMHO - I compared the previously released CD track to the vinyl version & the difference is markedly audible. Highly recommended IMHO - no CD version (as of yet?) maybe this should be moved to a Lacy post

yes, will be interesting - I've been a long term motorcycle (petrol) rider since 1979 (Ducati, Gilera, BMW) currently riding a 1973 BMW 75/5 - will keep this once the Savic arrives. My concern will be the lack of noise emitted - silent running & accidents - may have to add some synthetic motorcycle sounds via a speaker (ongoing joke suggested by Savic). The model I'm getting should have a range of 250kms.

I'm in the first 50 (#45) build slots for the new Australian (Savic) electric cafe racer - first ones off the production line likely December this year. https://www.savicmotorcycles.com/c-series

Editorial Reviews With Pharoah Sanders’ blessing, this limited edition 2 CD box set presents the definitive, remastered version of PHAROAH, his seminal record from 1977, along with two previously unreleased live performances of his masterpiece “Harvest Time." PHAROAH will be released a year after the legendary tenor saxophonists’ untimely death, and two years after the release of what was to become his final album, the widely acclaimed PROMISES, a collaboration between the composer Floating Points and Pharoah Sanders, featuring the London Symphony Orchestra (Luaka Bop, 2021). This deluxe CD box set comes with a 64-page booklet featuring never-before-seen photographs, rare ephemera, interviews with many of the participants, and a conversation with Pharoah himself. This record’s origin story is as elusive as Pharoah was about everything Pharoah. It was born out of a misunderstanding between him and India Navigation producer Bob Cummins, and was recorded at a crossroads in his career with a group of musicians so unlikely that they were never all in the same room again. There was a guitarist who was also a spiritual guru, an organist who would go on to co-write and produce “The Message,” and a classically trained pianist—his wife at the time, Bedria Sanders—who played the harmonium despite never having seen one. At times ambient and serene, at others funky and modal, PHAROAH radically departed from his earlier work. It would become one of the artist’s most beloved records and one of the great works of the 20th century. These exceptional live versions of “Harvest Time”—included here for the first time, and which Pharoah performed during an intense European tour in the summer of ’77—turn the original, beloved composition on its head. For seasoned listeners and new acolytes both, PHAROAH will never sound the same. PHAROAH (Disc 1) 1. Harvest Time 2. Love Will Find a Way 3. Memories of Edith Johnson Harvest Time Live 1977 (Disc 2) 1. Harvest Time Live – Version 1 2. Harvest Time Live – Version 2 from Amazon listing

2CD or 2LP? box sets (anything more than 1 CD/LP is probably considered as a box set in marketing crapola - a deluxe item!!)

David Byrne's label (Luaka Bop) looks like there'll be a CD version

Jack Chambers may still have copies - he's very approachable. I've contacted him a couple of times. He even sent an autographed copy of the book to another one of the group members.

this also came with my Sonny Clark email - appears that they're finally flicking Asendia (#$%@*) for all those non stateside orders - bonus for us here in Australia International Shipping We've been working with our fulfillment center to streamline international delivery and have contracted with FedEx International Connect Plus. This will provide immediate tracking and dramatically decrease the shipping time for delivery.

could possibly be this (extract from Alan Robertson's "Joe Harriott - Fire In His Soul", p80, 1st edn) - a response to the Free Form LP & "free" jazz in general As for the jazz public's reaction to the music, Coleridge Goode felt, 'A lot of people liked it. I think the majority of jazz fans liked it but, funnily enough, it was the other musicians who were dead set against it. But we used to play in Ronnie Scott's Old place in Gerrard St and, as we all know, a few years later free music turned out to be very much the thing to do'. One musician dead set against it was Dizzy Gillespie. Harriott told Melody Maker that at an overseas festival, possibly Antibes, he asked Dizzy to sit in and 'he said, "I don't want to play none of your damn weird music." Dizzy was put down in just the same way when he started experimenting. When he said that to me I felt, you can play your music better than anyone else, but you can't play mine.'

bad me, yes you're right - me being a big Wardell fan I just realised that I've communicated with him in the past - I'll drop him a line

Latest email from Jan Evensmo's "Jazz Archeology" site has a number of his entries updated. Was perusing the Elmo Hope solography & found this new entry by The Philly Joe Jones Sextet, including Elmo - what a lineup. Anyone know if this has actually been released anywhere? Wonder how long before Pujol etc get their hands on this. So, James Accardi is not only an Armstrong afficionado. Would love to hear this. James does contribute to this site AFAIK. Also found a listing of an unreleased acetate (James Accardi collection too) of Herschel Evans & Mary Lou Williams duo performance in the Evans solography PHILLY JO JONES SEXTET NYC. Jan. 5, 1963 Dizzy Reece (tp), Sonny Red (as), John Gilmore (ts), Elmo Hope (p), Larry Ridley (b), Philly Jo Jones (dm). WADO broadcast “The Symphony Sid Show” from Birdland (James Accardi collection), no EH on end theme 0:56 “Theme – Blue ‘N’ Boogie” but: 1:02 Theme – Jumpin’ With Symphony Sid Briefly in ens. (FM) 12:49 Joe’s Delight Solo 3 choruses of 32 bars. Acc. (dm). (FM) 9:52 I Can’t Get Started Intro 4 bars. Acc. (tp/as/ts). Solo 16 bars. (S) 6:59 Take Twelve Solo 5 choruses of 12 bars. (F) Postscript of Oct. 2021: Great jazz archeological discovery, the first broadcast unearthed with this group! The dynamics of the leader is incredible, particularly “... Twelve” can take your breath away. EH has a prominent role, note how he comps PJJ on “... Delight” in addition to a long solo. His highlight is “... Started”, and the sound is good enough to give much detail of his comping behind the various solists. A beautiful solo also, only too bad he only gets half a chorus here, less than all the others get.

Highly recommended read IMHO

what a lineup!!!

Date: January 18, 1957 Location: Van Gelder Studio, Hackensack, NJ Label: Prestige Gil Melle Septet Gil Melle (ldr), Art Farmer (t), Hal McKusick (as), unknown (ts), Gil Melle (bar), Teddy Charles (vib), Vinnie Burke (b), Ed Thigpen (d) a. 1058 Funk for Star People(Gil Melle) / arr: Gil Melle - 6:37 b. 1059 Golden Age(Gil Melle) / arr: Gil Melle - 6:46 c. 1060 Herbie(Gil Melle) / arr: Gil Melle - 4:21 All titles on: Prestige CDOJCCD-1753-2 — Gil's Guests (1990) Prestige/Victor (Jpn.) CDVICJ 41385 — Gil's Guests (2006) Fresh Sound (Sp.) CDFSR-CD 479_2 — The Complete Prestige Recordings (1956-1957) (2008) Prestige (Eu.) CD00025218175326 — Gil's Guests (2009) Universal (Jpn.) CDUCCO 5263 — Gil's Guests (2014) Solos: a - unknown (ts); Art Farmer (t); Gil Melle (bar); Teddy Charles (vib) b - Gil Melle (bar); Teddy Charles (vib); Hal McKusick (as) c - Hal McKusick (as); Art Farmer (t); unknown (ts); Vinnie Burke (b) These 3 tracks were never issued on the original LP, Prestige 7063 and apparently destined for an LP that was never completed. The personnel have generated much controversy. Here is an historical summary: 1. Donald Byrd (t), Phil Woods (as), Gil Melle (bar), Joe Cinderella (g), Vinnie Burke (b), Ed Thigpen (d) This lineup appears first in: (a) Jepsen's Jazz Records 1942-1962 (1963) and repeated in: (b) Ruppli's Prestige Records Discography, 1972 and 1980 editions; (c) Bruyninckx Discography, 1977 and 1987 editions; (d) Liner notes to Prestige OJCCD-1753-2 (1990). 2. The Lord Discography (1996 print edition) shows: Art Farmer (t), Hal McKusick (as), poss. Seldon Powell (ts), Gil Melle (bar), Teddy Charles (vib), poss. George Duvivier (b), poss. Shadow Wilson (d). 3. Personnel provided by Gil Melle in a 1999 interview with Rudy Van Gelder historian Dan Skea: Art Farmer (t), Hal McKusick (as), Zoot Sims (ts), Gil Melle (bar), Teddy Charles (vib), Joe Cinderella (g), Vinnie Burke (b), Ed Thigpen (d). Melle was particularly emphatic about the presence of Sims and Charles and frustrated by their omission from the Original Jazz Classics CD liner notes. 4. Personnel in the Bruyninckx Discography, 2004 pdf edition - same as 2. 5. Personnel shown on Fresh Sound FSR-CD 479_2 (2008) and in the Lord Discography, current online version (2009): Art Farmer (t), Hal McKusick (as), Seldon Powell (ts), Gil Melle (bar), Teddy Charles (vib), George Duvivier (b), Shadow Wilson (d). After being troubled by this session for years, I recently (August 2009) have revisited it in an attempt to definitively identify the participants. Unfortunately, that goal remains elusive. Nonetheless, here are some of my conclusions: 1. The early information, repeated on the 1990 CD reissue, is wrong. A vibraphone and tenor sax are clearly audible and the trumpeter and alto saxophonist are definitely NOT Byrd and Woods, respectively. 2. No guitar is audible on any of the tracks. 3. The musicians present beyond any doubt (aural evidence) are Farmer, McKusick, Melle and Charles. 4. Despite what Melle indicated in the 1999 interview, the tenor saxophonist is NOT Zoot Sims based on aural evidence (confirmed in a phone conversation and email exchange with Hal McKusick). It could very well be Seldon Powell but to me, that remains insufficiently substantiated and so I am listing the tenor sax player as unknown until I find compelling evidence for Powell or anyone else. 5. The bassist and drummer sound to me much more like Burke and Thigpen than Duvivier and Wilson, respectively. Hal McKusick's recollections of the session lean in the same direction. from Noal Cohen's Teddy Charles Discography https://attictoys.com/teddy-charles-discography/#sess-year_1957

Saw the same duo here in Brisbane (Australia) round the same time, even spoke to him after the concert. Also loved his artwork, much of it adorning LP & CD covers RIP Peter, one of the greats