Rooster_Ties

Fun fact! Eno was commissioned to write (and did write) this little 3.25-second ditty… https://themusicnetwork.com/the-odd-story-of-how-brian-eno-composed-the-windows-95-startup-sound/

Wasn’t there a download-only option with one of Andrew’s albums from right around this same time (roughly), with 2-3 extra tracks of some sort? (Or am I now just conjuring that false memory?) Not necessarily this album, but I think(?) it was in this general time-frame. (Anybody know what I’m talking about, and have the details?) Is this that?

Why isn’t an artist like Jason Moran still recording for the label? Why wasn’t a band like The Cookers recruited onto the label? And, related, why hasn’t Billy Harper ever been on the label? That ship has sorta sailed now, but a dozen years ago it certainly hadn’t. Also related, Eddie Henderson? — who even has some history with the label, and is still vibrant and certainly has been the last dozen years. I could come up with a dozen other good and quite logical examples — and no not all of them necessarily coulda/woulda/shouda happened — but my point is, NONE of them did. Sincerely, I don’t think Don Was is doing a “bad” job — but there are definitely some things that could have happened to really continue the lineage of the label, in ways that could have picked up on developments since (after) the 60’s, and even dovetailed with a bit of the label’s post-1970 history. (And I’ll try to come up with some more ideas to flesh out that supposed list of “a dozen” of opportunities that I claim have been missed — so that’s not me just claiming that in some hyperbolic way, without backing it up.)

This link seems to have the entire track listing for both discs… https://shop.decca.com/products/blue-spirits-85-years-of-blue-note-records-2cd I feel about the same as felser, I’m afraid. There seems to be little continuity between the Don Was era of Blue Note, and what all preceded it (even immediately preceded it). They seem like entirely different labels.

Via Discogs, I just looked at the back covers for all the early issues/reissues of & Ten, and “Zeke Tolin” is first outed with the 1970 reissue — but all of 6 preceding issues do maintain the pseudonym (and always in quotes). So I wonder at what point — and how?? (meaning from a contractual standpoint) — how does it become ok to correct these personnel listings officially on jackets?? Or do the rights-holders (to the recording, meaning those doing the reissue) just say f-it, enough time has passed (whatever that means), let’s just name them. I mean, it’s not like there’s a statute of limitations on this stuff, or is there??

I just picked up a cd of Gil & Ten only a couple months ago — the very last of any of Gil’s pre-1975 leader-dates that I was missing, and a hole in my collection that I’d had for 20+ years. A very nice date, and I think I actually prefer it over both of his two ‘58-59 World Pacific albums. I’m normally hesitant about soprano (), but Lacy’s timbre here turned out to be interesting and a welcome new arrow in Gil’s quiver (new for me, at least).

I plan to by the end of the month — that’s not quite ASAP, but pretty close (as today is Sept 5).

Me too!!

Blue 7 / Blue Seven (Newk)

Still available from Mosaic, but for how much longer? Mosaic’s website for the product page says: Please note only a few copies left. Don’t miss out!

I feel the same way, on both counts. I hesitate to be overly critical — because what plays is great (exciting soloist, clearly full of ideas)… …but, I just cannot get with his tone. Or, rather — to me — he always sounds like he’s chewing on his mouthpiece as he plays. I know that can’t literally be true, but that’s the analogy I’ve used for 20 years when describing why I don’t like Lovano better than I do. And I have tried… I’ve owned at least 15 discs by or with him over the last 30 odd years — a few Paul Motian and John Scofield discs, and by others (Osby) — and 6-8 of his leader-dates. But, and I say this sheepishly, when I culled my collection a bunch a dozen years ago, I got rid of most everything I had that he was on. I don’t say he plays ‘badly’ — but his is a sound I just can’t get with, much as I’ve tried. I think the only things I have by him currently are Universal Language, and the disc he did with Gunther Schuller — and I think(?) I got rid of everything he was a sideman on. Though I do have a whole bunch of respect for him — he’s just not for me.

The original volume 4 (forget the specific name) was just 3 songs — barely 19+ minutes long iirc. It was the ‘bonus’ release after vols 1-3 first came out, and I think(?) it was only available if you bought all of 1-3, or you could get it free if you got 1-3 — I never figured out those details (I got mine used). I’m fairly sure they added the bonus stuff to vol 4 — since it was SO short to begin with.

I think(?) I saw them up in Iowa City 20+ years ago. Pretty high energy, as I recall, and definitely a good time (but definitely ‘good time’ music, fwiw). I don’t recall there being more meat on the bone than I was expecting, but they were definitely good within their oeuvre.

I got a copy from The Bastards several weeks ago, and it’s a real winner. The CD has a whole separate session, which is also wonderful (even “…Ipanema“, easily the best version of the tune I’ve ever heard). https://www.discogs.com/release/30623134-Clifford-Jordan-Beyond-Paradiso-1969-1970 The first session (which is all that’s on the LP version) contains 3/4ths of the tunes found on In The World — in versions stripped down for a simple quartet. As fine a document of Clifford Jordan around that time as you could ever hope for.

Has anyone heard this new release yet? I’d hoped to add it to a Dusty Groove order by now, but alas… they seem not to have had any sort of stock yet at all, best as I can tell.

Damn! I’m trying to remember ever seeing any(?) other Ornette footage that’s even half that compelling — in terms of line-up, footage and sound quality, compelling era, etc. Or what am I forgetting? Is there any footage of Ornette and Don Cherry for instance? (I’m not recalling. )

Now only $2.00 a disc, brand new and sealed, from Dusty. This is a really tremendous comp, imho. https://www.dustygroove.com/item/634774/Various:Feten-Rare-Jazz-Recordings-From-Spain-1961-to-1974 Carpe diem!!

Yeah, that Tolliver session has never be issued as a single release under his name (nor on CD) — both of which are crimes. Ditto on both for the Dusko session too. Both deserve complete releases on programmed in session order (or broadcast order, whatever) — and NOT chopped up across multiple vinyl-only releases.

It’s WONDERFUL. I paid $24.99 for mine (unfortunately, ~2 yrs ago, from Dusty) — but it’s probably as exceptional a reissue of that material as one could ever hope for.

The back half (last 3 discs) of the Tristano/Konitz/Marsh Atlantic Mosaic. it starts with 3 Konitz dates — then the one Konitz/Marsh co-leader date — and finally the one Marsh date.

Whether they’re naked or not is a little like Schrödinger's cat, no?

Listen, the last thing I need is more books. So don’t lemme catch you saying that again, or I might give in and buy it.

Buried down at the bottom it also says: “A 2-CD issue is announced for September 2024, it should be available at Squidco.com (USA), jazzmessengers.com (Europe), Diskunion.net (Japan), Ajazz & jpc.de(Germany)” — and presumably(?) elsewhere.

Seeing this clip, I’m astounded at the proximity of the cars (headlights) passing by the studio barely a couple hundred feet away — out the window. How in the hell did the sound of traffic not f’ things up royally, and with some frequency?? It’s a recording studio, for cripe’s sake!!

Unrelated to your comment, but it’s interesting that the older I get, the more I see older shows — sitcoms, WKRP, etc, Carol Brunette, and the 80’s & 90’s Star Trek series too… …the more I see them NOW (literally now, as I’m watching the original episodes) I’m often imagining what the actors were experiencing creating and inhabiting these characters, and interacting with each other (as actors) both in and out of character. And what fun it must have been, or what it was like to ‘be’ these characters before they were fully developed. Maybe it’s a byproduct of the VAST about of interviews now available online (both contemporaneous, and also years later in roundtable interviews, cast reunions, etc) — many of which are great fun and interesting to enjoy. There’s also a vast episode-by-episode fan wiki for damn near every Star Trek series, with tons of episode-specific quotes from actors taken from fanzines of the day, and Trek convention appearances and other interviews over the years. (Thus, NOW, it’s easy to imagine — almost hard NOT to imagine — the making of all those Star Treks while watching them.) Anyway, it must have been incredible fun bringing those two Bob Newhart centered sitcoms to life — and Bob must have been such an interesting, VERY different and unique kind of ‘star’ to have at the center of everything.