John L

Thanks

Is there discographical information on the dates of the previously unissued live performances?

I'm in, for sure! It is really an unexpected luxury to finally get to know Hasaan so many years after his passing.

Count me in! I love McCann's 60s trio sound.

A very nice piece! Thank you.

Nice post. There is some mystery surrounding the origins of jazz, as well as blues, due to a scarcity of recorded evidence until the 1920s. One point to consider is the following: the question of where jazz was born depends greatly on how we define jazz. It is possible to define jazz to include ragtime. A that case, a strong argument can be made that it wasn't born in New Orleans. If we define jazz as the kind of mix of ragtime, blues, and rhythmic nuance that Jelly Roll Morton talked about, then a strong case can be made for New Orleans as the center of its birth. Personally, I don't have any problem with considering New Orleans the true birthplace of jazz.

Thanks, Lon.

Has anybody heard this yet? A few tracks from this concert have been bootlegged before but this is more than 70 minutes apparently in excellent sound. More Miles from 1957 couldn't be a bad thing.

Growing up and becoming a jazz fan in the San Francisco Bay Area, I heard Richie Cole very often. I always thought of him as a good practitioner as opposed to a great creative artist. But he gave a lot to community, free concerts on the street all over the place. I thought that he also gave fine support to Eddie Jefferson. So I am a bit surprised by the idea that he never "found traction with other people." Of course, I did not know him personally and appearances can be deceiving.

This is a very interesting collection. I especially like the tracks that he recorded of Hop Wilson live in a juke joint.

Strange. How does music in digital form end up unaccessible in storage? We should contact Loren Schoenberg about this. The availability of these recordings, including the ones still pending commercial release due to legal issues, has been the greatest attraction of this otherwise quite modest museum.

I was just listening through this box set again - truly magnificent!

I took a glance at their "greatest album of all time" lists - so incredibly white bread. It is as if the great 20th century musical synthesis of African and European in the New World never happened, or that only the white manifestation of this synthesis has any value.

Yes. As much as I love Art Pepper, the four CDs of music from the Maiden Voyage gig on the Galaxy box are already overkill for me.

Charlie Parker was an early key influence. Listen to the 1940s recordings he made on alto with his Navy buddies. Dexter Gordon and Sonny Stitt were certainly also influences. We had a discussion of Jimmy Heath and Coltrane a while back but it is a bit unclear who influenced whom in that case.

RIP

I have made it a point over the years to collect every soundbite of Lester Young that I could. "Hi Heckler" is not among them. Lester Young did not compose many songs at all outside of original heads for blues tracks. I imagine that "Hi, Heckler" is probably one of those.

It would be a very hard choice between the two Impulse! sub-periods. Good thing that we don't have to choose. I actually prefer the earlier Coltrane to the Atlantic period (if we are to exclude the 1960 Europe recordings with Miles that are very close to my heart). The Atlantic recordings were arguably a more important period for Coltrane's development. But the music feels transitional to me, not as fully realized as either what came earlier and what came later. Of course, Giant Steps was arguably fully realized, but also a sort of fascinating dead end.

I picked up a good number of Kenton releases over the years but hardly listen to any of it anymore. There is just so much other music that I enjoy a lot more.

Thanks, Chuck

I loved hearing McCoy Tyner's bands live in the 70s. I saw him many times at the Keystone Korner. The sheer percussive power of those bands could just carry you away along with everything else sublime they were doing.

The concept would seem to be, first, all of the 20s and early 30s recordings of New Orleans black jazz bands done in the city of New Orleans + early recordings by black New Orleans musicians and bands done elsewhere that avoid the most recorded/reissued artists like Morton, Oliver, and Armstrong.

That's an interesting release. I don't know how commercially successful it will be. Those who are interested in owning all of this music probably already have almost all of it. For those who are just getting acquainted with it, 20 CDs at this price spanning a huge variety of time periods and styles is probably a bit much.

I had tickets to see him on Saturday at Takoma Station in Takoma Park (DC). Instead, it ended up being a memorial concert. RIP

The original version by the composer had the right inflections. I love what Steve Cropper does with the bassline on this one and on the Albert King version.