king ubu

I know ... but I'm not old enoughto have been able to get that one.

So "John Coltrane Plays While My Lady Sleeps" dhould really be "John Coltrane Plays While His Lady Sleeps"? Feels like we have some history to rewrite ...

"but I was so much older then, I'm younger than that now"

CD Japan announces a new Brad Mehldau/Charlie Haden release, "Long Ago and Far Away" -- anyone knows more about this? http://www.cdjapan.co.jp/product/UCCM-1249?s_ssid=e425bd5b71876d2eea The only thing I can read there is live and 2007-11 which may be the recording date?

Thanks @miles65 - so not that much ... and it does seem the 1956-62 period was a little less busy, all in all.

Well, generally I'd rather assume that selling 2000 (and not 5000) is more ore less what Mosaic usually did in the past 10 years. (Lots of "running low" I got were in the 1500-2000 range of numbers, sometimes in the 2000-2500 - I know they didn't sell them in sequence, but I'd assume they'd produced only 2000 or 2500 respectively, in these cases). The question would rather be: do we all worry so much and/or is Herman still so popular that this may sell faster than usual? One thing I'd still really love, as Sony has cared sh*t: more, thoroughly done and complete Ellington sets (i.e Columbia forties to earlly fifities and Columbia 1956-62), closing the gap up to the Reprise set. And I'd also love a late Ellington box, but I guess that one would be difficult legally (Fantasy, Warner, Storyville etc., Duke's own productions sold to whomever ...) - Ellington boxes were, at least in earlier times, sold in greater numbers than most (was the Reprise an edition of 10'000? I guess the Columbia Small and Big Band sets had lower numbers, the later is on the way out, anyone got one recently?)

Nice, thanks for sharing!

The wording of that talkative piece of sh*t that pretends to be a news bit suggests she's dying though ... (final public performance was ... she will be so missed as ...) -- either way, her music has enriched my life and will continue to do so, that's for sure, and I'll be eternally grateful for that!

Bill Barron would be amazing, of course ... Evereest has had very spotty coverage (if any at all) in the CD era, it seems. The one with Tito plus one more, which is kind of a reunion, were reissued by Evidence I saw. -- And sorry for having missed your previous reference to the Monterey album (which is really good - I remember buying it from True Blue, ages ago ... may have been my very first exposure to Herman).

Yeah, I love how Mosaic has over the years subsantially documented Herman's career! Between the Capitol (I think it runs up to 1956?) and the (terrific!) Select (1962-64, I think?) there's a larger gap, which contains at least one essential album (Atlantic 1960, reissued on Koch ages ago, and I guess in the meantime again in Japan a few times?): And there's this one, too (Verve 1957), which I quite enjoy every now and then:

yup, got Stravinsky/Br'er Ray, too ...

Great news! So this closes gaps around and between the Columbia and Capitol sets, right? Begins with the new one (Decca), then on with the Columbia box, squeeze in the Carnegie Hall concert from the new one, and then on with the beginning of the Capitol set, then the MGM/Verve material from the new one, then the rest of the Capitol set. Do the three boxes cover the full ground for that period, or are there any (minor or substantial?) gaps left?

Just in case, over here, jazzmessengers seems to be the best source usually ... I have just completed the series (missing on a physicalc copy of the History set, which went OOP a while ago it seems) and am still waiting for delivery of the last one. The Ronnie's set may indeed be the essential, but I have yet to spend more time with some of the sets.

Well, not really: "Dizzy Gillespie Plays Salt Peanuts" would read okay on a record cover, too, wouldn't it? It's on two lines, after all. And now the next question would be, judging on the label, the artist/band would be "Dizzy Gillespie Plays", right?

Regarding Leonard Rose, haven't really started exploring that set, but he did the Bach sonatas with Gould and they're outstanding. Not much left on yt these days of that, it seems, though, but here's a snippet:

Well, sorry, I revived this thread because I bought the Stuttgart release, finally, and noticed the "someplace in Stuttgart" on the booklet again, so ... Either way, not too surprising what you say about reports of gigs in the late 70s/early 80s - I guess they were waiting (having almost used up the final oxygen supply) for Wynton/Crouch to save their souls

Used to, right? Nowadays more like 1962/63 (or even earlier) Trane, at least sound-wise ... but sometimes also lines-wise, I think.

Well, recording last (not first) night of a multi-night gig would probably be more the norm ... but then the meeting with Duke Jordan again sounds like a one-off ... no idea how these events really evolved.

Reading the other impressions here, my "quite good" may be explained by not being that much into Ches Smith ... I'd love to see a big-scale Parker/Holland thing, along the lines of the Intakt double disc that Parker did with Barry Guy - but quite possibly that could not better the Parker/Guy combination, so the idea mightn't be that smart ... Parker is still awesome these days, I've had multiple chances to catch him in the past few years, luckily (with Guy, with the Schlippenbach Trio - both with Lovens and Lytton, guesting with Decoy, with Globe Unity etc.).

Indeed - maybe Cables wasn't able to make the gig yet - Duke Jordan in Copenhagen, Levy in Velden, then Cables? Checking the Copenhagen booklet, Laurie's notes seem to support that: "That this date was more than usually groovy is a lucky accident that didn't seem so lucky at the time. We'd arrived in Europe without our pianist. it was Art's second long tour of Europe in a three-month period. He was at the top of his form, and at his age, with his bad health, he was at the end of his last and brightest comeback and he knew it. He was past exhaustion. Triumph and a desperation to do it all were carrying him; he was steadily writing, traveling, performing, recording. "Art traveled with his own band because he felt he could only say everything he had to say within the context of the tunes he wrote himself, and his charts were hard to play. They had to be rehearsed and lived with for a while. The absence, for the first few days of this tour, of George Cables, Art's regular accompanist, was going to make this Copenhagen date, he feared, lackluster. Even though Art looked forward to working with the sub, the legendary Duke Jordan, he didn't look forward to playing standards, and when Danmark's radio proposed recording the first of those nights, Art was annoyed. He didn't want to seem to be just another bebopper playing the usual things." Not sure how it all fits though, as "first of those nights" would usually refer to a multi-day gig at the Café Montmartre, not "first of the tour's nights" ... but if read like the later (which isn't impossible at all) it would make sense then, and the Velden gig the day after with yet another subbing piano player would make sense, too.

Checked the info I have (from the Pepper recording shared on Dime years ago) - and indeed, it seems the Velden gig took place a day later than scheduled according to the poster. My info says July 4, 1981 (which is not confirmed ... is there any Austrian daily paper that has a - digitally accessible to anyone reading here - archive to check this? Not that I assume newspapers at that time would have necessarily reported about all jazz concerts, but maybe there are updated ads or anything?) The recordings in circulation for which I have info handy are these: July 4, 1981 - Velden (Austria) July 6, 1981 - Genoa (Italy) July 7, 1981 - Vienne (France) The Genoa recording is an AUD, the others come from radio broadcasts. The March 1981 tour is much better documented in terms of recordings, it seems: May 12, 1981 - Leicester (UK) (AUD) May 13, 1981 - Slough (UK) (unknown source) May 14, 1981 - Croydon (UK) (BBC radio broadcast, released by Laurie as Vol. III of the series) May 19, 1981 - Paris (France) (Radio France RB) May 22, 1981 - Bruxelles (Belgium) (RB) May 24, 1981 - Stuttgart (Germany) (prob. RB from Süddeutscher Rundfunk/SDR, released by Laurie as Vol. V of the series) May 28, 1981 - Roma (Italy) (AUD) There are probably more but I'd need to search through various external drives ...

It's quite good but not a masterpiece in my opinion ... the best and most notable thing is that Holland gets involved in this kind of music again - and he still has the ear and abilities to so, no doubt about that! Parker is masterful as was to be expected. But the sheer amount of music is a bit too much for regular consumption.

Not sure what that list is about ... if you want people to vote, why not compile a list of (fasten yer seatbelts!) all jazz albums (and compilations if you want to include jazz before 1950 as well) ever released? Obviously no one would go through the pains and vote then, but like this it suggests a kind of poll/majority thing, but the basis for it is totally botched. Also, several albums are listed twice it seems (or the list keeps morphing while you add votes)?

Thanks all for this thread! I continue to be amazed by Gould's Bach (and Beethoven and other stuff, too), exactly because of what Larry chose the word "pecking" for. I adore the clarity and no-nonsensicalness of his approach when playing Bach solo (and the same applies to his album of English consort musicke - I know it's totally "wrong" in many aspects, but it's so darn good, why should I care?) ... I am always annoyed, when Bach performances are blurry (not when they are bubbly, mind me -- Blandine Rannou is fine with me, to name just one different and more contemporary approach). I want to hear the lines and the tones, I want to hear the architecture I guess, the structure.

'mkay ... something fishy there! Not sure I have any better info at home, but the Velden poster would indicate the Copenhagen release being mis-dated.