John L

Thanks!

You mean So What (4-2-59)? I don't know of any LP or CD with this track. But there may have been a DVD. It was recorded for WCBS-TV https://www.youtube.com/watch?v=3VGp_qBtZbg

Back to the original question, in some ways I think that V.S.O.P. was historically more important than Massey Hall. As has already been noted, the music played at Massey Hall, although very great, was already a decade old at the time. The real historical significance of the recording is probably the fact that (I believe) it is the only recording that we have of Diz, Bird, Bud, and Max all playing together. Diz, Bird, and Bud were also recorded together in 1951, but with Roy Haynes on drums. Mingus in the mix is an added attraction. As far as the historical significance of V.S.O.P. is concerned, I think of it as one of the confirmations in the 70s of the enduring compelling beauty of classic acoustic jazz at a time when all of the individual musicians in the band, except maybe Ron Carter, were pursuing fusion projects. I think that had a real influence on where jazz went in the 1980s, for better or worse.

Thanks, Rooster. Yes, I later saw the other thread. Looks good!

Interesting. Will there be something more with Marsh and Konitz?

I agree very much with your assessment of Horace Parlan. He also made a great series of records for SteepleChase.

I just had a chance to listen to this and it is certainly very worthwhile. For some reason, I didn't have any of these recordings before even though I have a large Bud collection, including the majority of Francis Paudras tapes. I have to admit feeling slightly disappointed when listening, given that these recordings are from March, 1962 and Bud seemed to be on white heat fire in January and February (Lausanne and Geneva). But this is more usual early 60s Bud, more like the Golden Circle recordings from April, which is to stay still very good and engaging. The tracks with Don Byas and Brew Moore are my favorites on the disc.

What I object to is the rejection of all of Hip Hop over lyrical content that is only in some Hip Hop. Should we reject all jazz if we don't like Dixieland?

They are all great but if I had to choose two, it would probably be those 2 as well.

Woody Shaw's Woody III and Chet Baker/Duke Jordan No Problem are two that I still listen to from 1979.

Mulatu is still playing and making music after all these years. When I was in Addis Ababa before the pandemic, I would usually see him once a week at African Jazz Village. Sometimes he would play. Sometimes we would just watch others play. He is a living legend.

It is interesting that, before this thread, I had never thought of Dexter Gordon as being much more famous than Sonny Stitt. Of course, Dexter spent a lot of time in Europe. So it is natural that Europe become much more familiar with Dexter than Stitt. When I first become interested in jazz in the early 70s, it seemed to be more like the opposite in the US. Stitt was a household name among jazz fans while Dexter Gordon was someone who made some good records in the past, but was now living and working abroad. That changed dramatically with the "Homecoming" album and the subsequent extensive US tours. Suddenly Dexter Gordon was on the cover of all the jazz magazines and getting stellar reviews. As far as consistency is concerned, yes, Dexter Gordon could have off nights when maybe he had a couple too many drinks. But I think that Stitt was even more inconsistent. I saw him several times when he just didn't even seem interested in what he was doing. It was like he just wanted to get paid and leave, and the music could sound that way too. Stitt is the only saxophone player I have seen who could chain smoke through an entire concert, blowing with one breath and puffing with another. Other times, Stitt was magical live. But going to see him was like rolling dice. The probability that Dexter would play well was higher.

RIP - the end of an era.

If you ask me, Resonance filled a very important gap in Evans' discography with these two releases and Evans in England. The trio with Jack DeJohnette was one of the most interesting. Before these releases from Resonance, all we had from this trio was At the Montreux Jazz Festival and 4 tracks in poor sound on Secret Sessions.

While the live Love Supreme from France is nice, there were apparently some problems that spoiled the mood. They say that Coltrane and Elvin were very angry at each other for some reason that day and the band had to soak up the extremely hot July sun in their wool suits. So I am expecting that this one might surpass it.

This is getting to be exciting.

Yes, that book would indicate that Coltrane was booked at the Penthouse for a whole week in 65. John Coltrane Sextet PERSONNEL: John Coltrane, tenor and soprano saxophones; Pharoah Sanders, tenor saxophone; McCoy Tyner, piano; Jimmy Garrison, bass; Donald Garrett, bass, bass clarinet; Elvin Jones, drums; Joe Brazil and/or Carlos Ward, alto saxophone, may have sat in during some sets September 27–October 2, 1965 (Monday through Saturday, one week). Penthouse, Seattle, WA (1st & Cherry, foot of Cherry St.). From the Seattle Times (Monday, Sept. 27, 1965, p. 22): “Jazz Star: John Coltrane, a leading f gure in jazz music, will play one week at the Penthouse beginning this evening.” Reviewed by Ed Baker (“At Penthouse: Coltrane Sounds Like Nobody Else in World of Jazz,” Seattle Times, Wednesday, Sept. 29, 1965, p. 48):

Well, the edition of the book that I have says that Coltrane was booked a whole week at the Penthouse from September 27-October 7, 1965. In that case, other recordings could exist.

Thank you for that news, Kevin. Given that Gary was giving her round-the-clock care and love, I knew that it would be extremely hard for her to go on without him. RIP to the Siscos.

Very interesting. Pharoah following Trane on Naima from Vanguard Again always struck me as one of the great anticlimaxes in recorded jazz. I guess that I will have to re-listen.

If they put all of the already released "Live in Seattle" on 2 CDs, that would leave them with less than 20 minutes for any new music. It is all very mysterious.

...and if it includes material already released as "Live in Seattle" on Impulse!, that is also not an entirely bad thing given that the existing CD remaster leaves a lot to be desired and sounds much worse than the LP.

In fact, there are fairly long tapes of "Resolution" made at Pep's in Philadelphia in October, 1964 a few months before the studio recording was made.

If this really was a new live Coltrane Love Supreme, you would think that there would be more buzz about it. Maybe they are calling the 30-minute "Untitled Original" that has been circulating from the Penthouse broadcast "A Love Supreme." That would be a huge stretch.