bertrand

PC played at Left Bank after the last date listed in Lord. If that was recorded, it would be his last date. I will dig up details later.

Konitz and Stern were actually an item for a while, per Konitz. I met her once or twice in DC, and I am Facebook friends with her. I could message her asking how Woody came to record her piece. I will leave out the Lacy/Bonner bit. I can also check copyrights later.

Frank Haynes is awesome. I wish more was known about him. I have never even seen a photo.

It is on Woody Shaw's Love Dance. Credited to Peggy Stern there, but Frank Lacy recorded it recently and says it is by Joe Bonner, who plays on Love Dance. Where else did Woody record it?

Up.

Who wrote this tune?

You could send this to Mike!

It seems that Wolfgang's Vault is not offering downloads for sale anymore? What is going on? I got a lot of what I wanted over the years, but I was given a gift certificate for Christmas by a bunch of DC Jazz artists and I have a huge credit I need to use...

Bonus tracks I would like to hear are the other cuts that were played at Left Bank and presumably recorded. I wonder who has the complete set of tapes - the Left Bank members (John Fowler) or Barney Fields?

The Blakey set sounds great!

I have absolutely been posting a lot of my findings on Facebook, and it has indeed allowed me to interact with artists. But a scholarly type of article would still be a good thing. I have more time on my hands these days, so it is time to revive this idea!

What year did Pharoah Sanders stop using the name Farrell?

David and I talk a lot, and he has been one of my main sources for information and verification. But he lives in NYC. Ideally, I need to find a collaborator who lives in DC so we can go to the Library regularly. I am not going these days anyway. My last visit was February 2020. I looked at the Dolphy collection with a couple of musicians and were talking about a concert. I got permissions from the Dolphy trust to use the material for a concert. One of my many projects on hold these days...

I do need to find a way to put all my copyright research findings in an article of some sort. I had talked about it with Mike Fitzgerald but never actually did it. I would prefer having a co-author, but I am not sure who. I don't actually read music myself. My efforts were kind of lonely and rebuffed by some Library employees, so I kind of lost my mojo. But my chief nemesis there is retired now, so maybe it is time to revive the idea. I could at least compile a list of all that I uncovered. Creating a narrative around it will come later. Tons of unrecorded music to talk about. Don Sickler does address No Room For Squares/Up A Step in the historical notes sections for these two songs at jazzleadsheets.com. He may have gotten this from Hank himself.

The copyright deposits may or may not shed light on this. Don Sickler publishes these tunes, but I doubt anyone suggested it to him. I can talk to the guy who works for him who puts together the lead sheets for the website. Title switches are frustrating because no one believes them and they are never changed later. I cannot convince anyone that the Wayne Shorter songs 'Blues a la Carte' and 'Harry's Last Stand' were switched. The copyrights prove it. Someone would need to ask Wayne. Two Mingus tunes on the Changes records were also switched. Mingus actually announced it correctly in the Montreux DVD, and Jack Walrath confirmed it. And don't get me started on composer credits. I did get Blue Note to change a few, but got some pushback. Butch Warren did get some money from my efforts, so that is good. Bertrand.

You are basing this on the fact that the long track sounds like a second cousin to Impressions, or do you have some other source for this claim? The long piece is also what Lee Morgan plays on the Live in Baltimore CD and incorrectly calls The Vamp. It is also not from Baltimore, BTW. Why do you think the song titles were switched? There are several Mobley pieces that may have had the titles switched. There is a folder of Hank Mobley copyrights at the Library of Congress that were pulled from the warehouse at my request. I hope I can go back soon and figure this out.

Have you seen what jazz is at Wolfgang? This would fit right in. There are many incomplete tracks, hardly a precedent. Zev is only borrowing. Left Bank can still place recordings elsewhere. But they would need to be proactive. There is some great Jazz at Wolfgang, especially Newport. But yes, acquiring Left Bank tapes would definitely make their jazz collection far superior.

For the sake of argument, let's ignore the legal issues, which are of course the elephant in the room. Wouldn't it make sense for Wolfgang's Vault to acquire the Left Bank Jazz Society catalogue and make the recordings available for download? There are several arguments in favor: 1) All the recordings could be made available, not just those the labels deem the most marketable. 2) Some of them do not sound that great. 3) There are many incomplete tracks on the tapes, or portions of the tapes are degraded, and the labels would not put those tracks out, even if they have some killer solos. Wolfgang would not have such concerns from past experience. Only a few Left Bank members survive, and the youngest one who has the tapes is in his early 80s. Time to make a permanent plan here. Letting them sit in Zev Feldman's office (or wherever they are currently housed) is not a permanent solution. Bertrand. PS: I would much prefer CD options like the Roy Brooks, but not everything can be released. Also, they left a couple of tracks out for space issues, a problem Wolfgang would not have.

Since I have the Fantasy CDs, I do not need these, unless there are bonus cuts. But the fact that important music currently held under the Concord umbrella is going to be reissued as is (not as a compilation) is promising. As we all know, they have held their assets close to the vest (my choice of words is deliberate). I am not sure who is behind Craft recordings, or maybe they are owned by Concord. But this is a good sign, IMHO.

Is this really Patti Bown, or maybe someone else?

1970?

Zev Feldman will find a backup copy. He will not release it though because it will have no commercial potential.

So it is not the Wolff estate taking over, I was wrong in that other thread. UMG taking over is fine, but we will still only get to see it in bits and pieces. I dream of an archive where you can see every single photo, organized by session. There would be one folder per session.

Yes. That was mentioned in the film. Everyone was shocked, even Lion, when his wife and kids showed up at the funeral. Why this was never told until the film is a mystery. She was African-American.

Yes, he was definitely in the band by then. The unanswered question is whether he joined in late July or early August. I thought Mosaic no longer controlled the Wolff images and their status was in limbo? I wonder if this related to the fact that the producers of the Blue Note documentary 'It Must Schwing' tracked down Wolff's family. Apparently, it was a surprise to everyone when a wife and kids showed up at the funeral in 1971. Wolff had kept his personal life very private.