John L

That is understandable. On the other hand, this is one of the most iconic bands in the history of jazz that only had the opportunity to make two studio albums. That is the primary source of the interest.

Excellent. Thanks.

https://craftrecordings.com/products/bill-evans-trio-haunted-heart-the-legendary-riverside-studio-recordings-5-lp This one appears to gather together all of the studio recordings of the Evans-LaFaro-Motion trio on five LPs. It includes quite a few alternates previously unknown to me. I have the Bill Evans Complete Riverside Box and about a dozen alternates not on that box that have been circulating. But there is quite a bit more here. I wonder if there will be a CD issue?

The only circulating live recorded version of I Can't Get Started by Charlie Parker that discographies state clearly as being from Birdland that of the February 14, 1950 concert. But that one would seem to have only been preserved at 1.5 minutes long. So the one on Bird's Eye 9 would seem to be a highly likely candidate. Of course, Kenny Washington could have something that is not yet circulating.

https://www.discogs.com/master/1729004-Charlie-Parker-Bird-at-Birdland

May your Pharoah Sanders LUCKY 13 change your year for the better!

Great discussion here. I come back to the early-50s live recordings of Lester Young over and over again, especially 1950-1951.

It seems that she is the last of her generation, somebody who actually hung out and performed with Bird et al in the 1940s. She was also a fabulous, enormously talented artist and wonderful person. I had the pleasure to meet her and talk to her for a while. It was unforgettable. RIP

RIP to a great master.

I was also born in 1957 and grew up in California. I remember him being pretty big, including in my house.

RIP. Seeing him live was a great double pleasure: great music, great stories.

Very sorry to hear this. Victor visited me once when I was living in Paris. He was a wonderful person. RIP

Technical zenith? Maybe. I am one of those who is particularly affected by Miles' trumpet playing on ballads and slow-medium tempo blues. Miles' music during 1969-1970 was certainly spectacular, and I listen to it often. But when I get in the mood to have Miles' trumpet penetrate my soul, I will most often reach for the decade of 1954-1964.

Yes. But what if Miles had not hired Wayne and kept George until the end of his acoustic period. Then I imagine that we would be talking about this as the great Second Quartet and a peak period for Miles. I listen to the quartet with George Coleman a lot. First, Miles trumpet playing was consistently very strong at this time, preceding the increase in physical ailments that inflicted him after 65. Second, the impact of Tony Williams on the music was still very new and fresh, which clearly inspired Miles. On balance, I would say that a lot of Miles' greatest recorded trumpet playing was done with the quartet with George Coleman.

Yes, I also love these recordings

My #1 would have to be this one that virtually doubled the amount of Julius Hemphill music available with extremely high average quality.

Sly spent some of his initial down time with Bobby Womack who was on a similar drug-induced skid. Bobby came out of it OK, but Sly didn't.

RIP to a true One-Of-A-Kind.

It is Taurus Woman. That is one reason why I think it is Carlos Garnett. Like Rooster wrote, it sounds more like him than Tyrone Washington.

I just had a chance to hear this tape. I suspect that it is Carlos Garnett on tenor, not Tyrone Washington.

RIP - what a drummer!

I remember when we kept asking Michael Cuscuna about all of the unreleased Andrew Hill sessions in the vault. He assured us that they would never see the light of day because Andrew Hill didn't want to release them. Then one day Michael persuaded Andrew Hill to listen to the sessions again, and got Andrew to change his mind. After that, it was all released, most of it on the Andrew Hill select. As for Blue Note sessions that have still not been released, I think that I number of them have been discussed here at length, including the Tyrone Washington "train wreck."

It looks like they somehow got the personnel mixed up with Ted Curson's Plenty of Horn. How they did that I do not know.

I just heard this for the first time. Given that this concert comes two days after this band's Ronnie Scott's gig (Blues For the Fisherman) and two weeks before the Geneva concert recently released on Omnivore, it is interesting to compare the Norway concert to those recordings. On first listen, I would say that this new release does not seem to reach the artistic heights achieved on either of these other two recordings, although the sound quality is certainly much better than Geneva.