CJ Shearn

They would probably have to license the tapes from VOA. The Newport '59 show *does* exist, I bought it from Wolfgang's Vault and burned it to disc. Jimmy was still playing bop live at that time, which contrasts with the increasingly more soul jazz direction of the albums. Only 25 minutes or so, but it's a smoking set and would need to be paired with something else. Were Jimmy's sets at Birdland in '57 or Small's Paradise prior to his first sessions taped??

I love Lenny and this should be very nice. The version of "Rite" I grew up with was on London, Zubin Mehta conducting the Los Angeles Philharmonic, the second side also had "Eight Instrumental Miniatures". I also like the version Stravinsky himself conducted. It may be unpopular, but I cannot listen to any version of "1812" unless it is the version Lenny conducted with the NYP backed with "Marche Slave" and "Romeo and Juliet Fantasy Overture". That was recently reissued in an expanded edition, but the "Great Performances" LP is absolutely a defining album of my early listening and my childhood. It's absolutely ebullient, garish perhaps but I love it. My mom has stories of me as a child with that album that are pretty funny. I will pick up this "Rite" reissue at some point.

Absolutely, especially when a lot of the Pablo stuff is freely available still.

Actually though I sometimes think it is, the consensus here is that it is not (though this is in discussion of "John Birks" on "Let Me Tell You About It"). Actually though I sometimes think it is, the consensus here is that it is not (though this is in discussion of "John Birks" on "Let Me Tell You About It"). Thanks Lon, though the name is too uncanny. I haven't heard either session, but I would think the tone, phrasing and licks would give away it's Diz, unless he purposely played differently as to not give it away.

Isn't it consensus Dizzy played under a pseudonym on "Rollin with Leo"?

I was told by Cuscuna that all that they have from Turrentine's Minton's recording dates are the released tunes. No master tapes exist as far as he knows. If someone has a "private" tape with more, it's more than Blue Note has. FWIW, Lee Morgan's "Lee Way" is in the same boat. No master session reels. What we got is what we can get. I was told by Cuscuna that all that they have from Turrentine's Minton's recording dates are the released tunes. No master tapes exist as far as he knows. If someone has a "private" tape with more, it's more than Blue Note has. FWIW, Lee Morgan's "Lee Way" is in the same boat. No master session reels. What we got is what we can get. Kevin, it seems a lot of masters for Blue Note sessions were not kept. Dolby copies from the 70's I recall reading in some cases. I would assume that for sessions like "The Jazz Messengers at the Cafe Bohemia" those were the masters, the previously unissued takes sounded in better shape than the album take masters at least on the RVG's. Though I think the RVG's helped the mid 50's Blakey material.

Well, posting that audiophile labels were hardly releasing Blue Note and Prestige albums while the opposite is true isn't good information in my view. Well, posting that audiophile labels were hardly releasing Blue Note and Prestige albums while the opposite is true isn't good information in my view. What I meant there Hans was reissues of things going pretty into outside as far as BN reissues. As an example, "Unity" while structurally challenging, is still fairly inside, compared to a record like Jack DeJohnette's "Special Edition" which goes pretty outside at times. An audiophile label will not touch that, necessarily. That and it's very well recorded/mastered to begin with.

I wasn't aware of much outside of knowing about a few SACD or XRCD issues, so it was good information. Will an audiophile label issue an album like "Song X" or "Special Edition"? Probably not.

Hmm, aren't those alternates from "Up at Minton's" lost like the JOS "Club Baby Grand" outtakes? I would have liked to hear those also? Back in the Mosaic prime years a Complete One Night With Blue Note would have been nice too.

Only if some tapes of DeJohnette with Patton surface...........

Right, which adds to the fetishism aspect. There's plenty of music on Prestige and Riverside from that time period, but they don't touch that stuff that much either.

Doesn't any label deal with a specific set of tastes in mind? like Concord (before the buyout, they didn't have anything hard bop or mainstream really until the last decade it seems) Telarc (until Hiromi, they seemed much like Concord) any Legacy reissue?

Cool, thanks for the information. Hutcherson's "Dialogue" was one of those?

Yeah, freelancer! The problem with audiophile labels is that they don't seem to go for "unsafe" choices, and I don't know if that's because their customer base doesn't want to be challenged musically or what, but I've never noticed any organ dates in audiophile release lineups. The notion I have (which could be mistaken) that some audiophiles don't always want challenging music but something that sounds incredible is evidence why some still enjoy GRP releases for example.

Wow, what awful errors! Coltrane a bebop pioneer? Ok then......... I'm sure Wynton would pay them off too to say he was a bop pioneer in 80's Nawlins

Of the three albums I only have "Squares", but the combination of Mobley and Andrew Hill with Hank being the more conventional, is very interesting.

Yeah Mike, it's definitely true. I've tried to focus on the music these days above anything else.

I agree, the Hoffman forums get insane about that. I do lurk for opinions there though

Thanks for the explanation. It's a whole different world from mine, both musically and sonically I hasten to add that I haven't heard those particular RVGs, though, so I can't comment on their sound. Thanks for the explanation. It's a whole different world from mine, both musically and sonically I hasten to add that I haven't heard those particular RVGs, though, so I can't comment on their sound. You have a way better system than I do, you probably hear way more true representations of different masterings on your system. I have a very mid end system. Though I use the Audio Technica headphones they use in studios for recording and monitoring. Jim mixed "In Memorandom" on a similar set of cans to mine, the next model up. Those headphones reveal many details and they are flat frequency across the board.

Same order as the original LP's and for those albums, I prefer that. Those albums are such a part of my formative listening habits. I still have the original "Houseparty" CD and I gave the McMaster of "The Sermon" to a professor of mine because he really really dug it so much. The sound on those IMO, way better on the RVG's than the McMasters, they are ones Rudy got right.

The RVG's were issued the same way "The Sermon" and "Houseparty" RVG's were.

Yeah the record has a definite LA studio sound even though it's mostly East Coast guys, Gadd, Jordan, Erskine, Frissell. "Before You Go" is a tune I like very much though, it sounds very smooth but harmonically theres too much going on for it to be considered smooth jazz. It's tricky because it deals in that area of harmony from EW&F and the like stuff that Pat and Lyle like so much, which appeared again on "Something to Remind You" from "We Live Here". Lyle's solo on "Street Dreams" part 2 is one of the hardest swinging solos he's ever recorded. Mind you I don't play, but my ear hears a lot of those similarities. Then of course Lyle surprised us with "Fictionary", then "SOLO" which is the one I go to the least. I love Lyle's ideas though and hope the supposed quintet album comes to fruition. Among the new pieces he wrote for it and mentioned to a Metheny Yahoo list member he wanted to put on an album is called "Eberhard". I wonder if he knows of this board and could chime in? The controversial Bill Evans remarks from Mehldau recently brought up here, made me think that many fans felt the Metheny/Mehldau albums had Mehldau as a poor substitute for Lyle. I think a small group of Pat fans are not generally jazz listeners otherwise and they aren't aware of what goes on in "the scene" so to speak.

Yeah, that was a strange review, truthfully the guy maybe really didn't know. I kick myself for passing up copies of "Straight No Filter" in it's Conn edition years ago, and "The Turnaround" was at the local record store where I got the RVG of "No Room", I went back to get the RVG of "Turnaround" and it was gone.

I think Lyle wanted a Steely Dan type sound on parts of the album, not sure. "Chorinho", "August", "Newborn" and the title track suite are the best tracks. I think the synths are certainly less dated than the DX 7 stuff of the period (of which Lyle never was a user), but the production is a bit dated.

The album certainly fits the "what is it?" category and I never thought of it that way when it's been described as a "fusion classic". The album looks and sounds like an ECM, utilizing Jan Erik Kongshaug as engineer. The consistency of the compositions makes the multiple directions of "Street Dreams" even more bizzarre. Back to Pat, some of the best playing I've ever heard from him in 2008 live in a trio with Larry Grenadier and Jack DeJohnette. It was a benefit gig for a Buddhist monastery near Woodstock which is close to where I live now, and it was a thrill to hear them blow on standards in really just a jam session. Pat does a lot of gigs up here that are unannounced and are just the musicians playing for themselves, Pat and Jack were challenging each other all night. They were going as outside as they could on "I'll Remember April" and at the conclusion of the tune, Pat walked over to Larry, then Jack with a huge smile and gave them high fives, I'll always remember that, sitting in the front row. It was also great to hear them on "Dolphin Dance". It hasn't occurred much on official albums but at times Pat's Grant Green influence really comes out, Grant was one of his big early influences. I would love to hear Pat do an organ trio record someday, maybe with Larry Goldings, or Sam Yahel and Jack, maybe Tain. I don't think Joey D. would be the right fit for Pat's compositions, maybe Dr. Lonnie, though he doesn't read. Pat's had insane hookups with Billy Higgins, Jack, Bill Stewart and Antonio Sanchez out of all the great drummers he's played with. He's also talked about releasing archival live material and I wouldn't mind hearing a release from the Song X tour. He should really do it soon since Ornette's quite up there, but they've talked about a follow up for years, and also an Parallel Realities band reunion. I wouldn't mind hearing a Pat duo with Kurt Rosenwinkel either.