king ubu

Well drop notes for grifting whatever ... whomever ... whenever.

This!

Doesn't work for the DETS series, alas

a sammich?

I recently bought all of the Dexter Gordon w/Tete Montoliu series on Steeplechase, first two were CD-Rs, rest CDs ... got another couple of CD-Rs by Gordon. Add Storyville to the list, at least as far as earlier Volumes of the DETS series go (Duke Ellington Treasury Series) - I've got about half a dozen which I'd love to replace by the real thing, eventually. At least they (both Steeplechase and Storyville) do offer properly photocopied booklets (on somewhat thin paper, but back in the day of the RVG series, Blue Note CDs used to come with booklets printed on really thin paper, often with traces (folds) from manufaturing/slipping booklet into case over here). What really puts me off is the fact that most of these labels don't bother to declare what's CD and what's CD-R - so you can't even blame the vendor (how is he to know what a sealed jewel case contains if the label doesn't tell him?) It's a dilemma really: those of us who still buy physical product don't want CD-Rs, the labels need to keep in print a reasonably attractive catalogue so we don't fully forget about them, they can't afford to keep CDs in print, they end up pissing off the few customers left ...

Over here, fine (3-4€ shipping, free shipping if I combine a few items), only a.de has it with a price tat, and that one's bit on the high side (25€, though that will certainly change as the release date comes closer) - but I don't like to make that fegher even more dirty rich. Ordered plenty of stuff from musicians and labels and (particularly Bandcamp Fridays) during this year, and plan to stick to that as much as possible (though I still occasionally do need my A account, alas). For a.com orders, shipping is in that same range, i.e. 12-14 $ for a CD, I think - it's been a while that I had to go that route.

int'l shipping is 13 something US $ ... if the Bayete was in stock right now, I might try for two, but I guess I'll wait for it to reach the shores of Catalonia I sure hope they did! They seem to have done fine on the Art Pepper reissues, or else we'd all know, right?

stfo now, willya!

Thanks, that's great to know! The bootleg came with very little usable information, not even the date was quite clear ... Oh, and how I'd love to have this memory!!!

Hasaan Ibn Ali – Metaphysics: The Lost Atlantic Album Omnivore, 2LP/CD, 5 March 2021 Hasaan’s 1965 Atlantic recordings, restored from long-lost acetate copies of the sessions. “He had ideas as deep as the sea. I mean I never heard anybody, even today, play like that.” – Odean Pope – tenor saxophonist “The pianist, Hasaan Ibn Ali, whom saxophonist Odean Pope calls “the most advanced player to ever develop [in Philadelphia],” had practiced intensively with John Coltrane in the early 1950s and is thought, by Pope and others, to have been the influence behind Coltrane’s so-called sheets of sound as well as the harmonic approach that underlay Coltrane’s breathrough Giant Steps, and also, with Earl Bostic, one of the two role models behind Coltrane’s strict work ethic. Yet he was rarely employed, even by musicians who respected his playing and his knowledge, thus leaving him with little chance to develop an audience. When he sat down at the piano at the Woodbine, an after-hours club in Philadelphia, all the horn players would leave the stand for they were unable to play with him, so unfamiliar were his harmonic concepts.” —from the liner notes In 1964, drummer/composer Max Roach convinced Atlantic Records to record him with producer Nusuhi Ertegun at the helm. Sessions were held in December of 1964 and the resulting album, The Max Roach Trio Featuring The Legendary Hasaan was released three months later. Atlantic invited Ali to record again in August and September of 1965, but before mixing sessions could turn the recorded material into a releasable album, Ali had become incarcerated on a narcotics possession. Atlantic shelved the album. Thirteen years later that tape went up in flames in an Atlantic Records warehouse in Long Branch, New Jersey. For years a rumor circulated, that a copy of the sessions had been made, but attempts to locate it never turned up a source… until now. Restored and mastered by Grammy® Award-winning engineer, Michael Graves from a tape copy of long-lost reference acetates of the sessions and with notes from producer Alan Sukoenig and author/pianist/teacher, Lewis Porter, Omnivore Recordings is proud to present this long-thought lost piece of jazz history. The project, co-produced by Alan Sukoenig and Grammy® Award-nominated producer, Patrick Milligan, and Grammy® Award-winning producer, Cheryl Pawelski, features the seven surviving tracks from the album sessions along with three surviving alternate takes. Packaging includes photos from December of 1964 by notable photographer Larry Fink, who refers to Ali as, “the Prokofiev of jazz.” Personnel on the August 23 and September 7, 1965 sessions that took place at Atlantic Studios in New York City were Hasaan Ibn Ali, piano; Odean Pope, tenor sax; Art Davis, bass and Kalil Madi, drums and all are profiled in the liner notes. — TRACK LIST: ATLANTIC ONES VICEROY EL HASAAN RICHARD MAY LOVE GIVE POWELL METAPHYSICS EPITOME TRUE TRAIN TRUE TRAIN (Short Version) [Bonus Track] VICEROY (Short Version) [Bonus Track] ATLANTIC ONES (Short Version) [Bonus Track] Cat: OV-411 — source: http://omnivorerecordings.com/shop/metaphysics/ Yowzah! Mods, please move/merge/delete if this has been posted already, a search only brought up threads on Roach's trio album and Brian Marsella's recent tribute album.

Well, the music is fantastic! But I guess we (I) should keep making sure the boot version doesn't go out of circulation. And this is off-topic here, but you all know the Monk "Palo Alto" is running slow, too, right? Guess Mr. Feldman took the right lane this time (but it was still wrong, uhm....) And apologies to y'all for returning after months with a rant and bad mood (which generally isn't the case, though the world - or rather: mankind - gives more than enough reason). Either way, heita!

Loosdrecht runs slow (+38 cents to fix "Sonnymoon", +24 cents to fix "Love Walked In"). Here's my attempt to figure out the cuts on all of disc two - what a nuisance ... this is some of the greatest music ever to be heard, sound quality is only marginally better than the circulating version (in which, as some may remember, I had a hand in), actually makes me wonder what exactly was the source Resonance used, certainly not a pristine radio archive copy at all (I guess the NJA logo is there because of the studio tracks, LP side A/CD1#1-4). :: Resonance Version :: SIDE A (CD 1 #1-4) — Recorded at VARA Studio 5, Hilversum, The Netherlands on May 5, 1967 * Blue Room (4:49) — L. Hart, R. Rodgers / Warner Bros Inc. (Warner Bros Music Div.), Williamson Music Co. (ASCAP) * Four (5:14) – M. Davis / Prestige Music Co. (BMI) * Love Walked In (6:04) – G. Gershwin, I. Gershwin / Frankie G. Songs, Nokawi Music (ASCAP) * Tune Up (6:57) – M. Davis / Prestige Music Co. (BMI) SIDE B (CD 1 #5-6) — Recorded live at the Go-Go club, Loosdrecht, The Netherlands on May 5, 1967 * Sonnymoon for Two (8:13) – S. Rollins / Son Rol Music Company (BMI) * Love Walked In (9:31) – G. Gershwin, I. Gershwin / Frankie G. Songs, Nokawi Music (ASCAP) SIDE C-F (CD 1 #7, CD 2) — Recorded live at Academie voor Beeldende Kunst, Arnhem, The Netherlands on May 3, 1967 @ Three Little Words (22:25) – B. Kalmar, H. Ruby / BMG Firefly, Edwin H. Morris & Company, Inc., Ruby Harry Music Co. (ASCAP) # They Can’t Take That Away From Me/Sonnymoon for Two (9:33) – G. Gershwin, I. Gershwin / Frankie G. Songs, Nokawi Music (ASCAP) & S. Rollins / Son Rol Music Company (BMI) # On Green Dolphin Street/There Will Never Be Another You (15:00) – B. Kaper, N. Washington / Catharine Hinen, Pattie Washington Music, Primary Waves Songs (ASCAP) & M. Gordon, H. Warren / Four Jays Music Co., Mattsam Music, Morley Music Co. (ASCAP) # Love Walked In (19:45) – G. Gershwin, I. Gershwin / Frankie G. Songs, Nokawi Music (ASCAP) # Four (22:19) – M. Davis / Prestige Music Co. (BMI) — *) Resonance exclusive @) complete on Resonance set, as well as in bootleg version #) edited on Resonance set, complete/longer on bootleg version — :: Bootleg Version :: Arnhem (NL), prob. Musis Sacrum (location wrong, aula of the Academy is correct, see post by @Caravan below!) – May 3, 1967 Sonny Rollins – tenor sax Ruud Jacob – bass Han Bennink – drums, congas CD1/63:27 # 1. Love Walked In (George & Ira Gershwin) 22:35 # 2. Four (Miles Davis) 27:14 * 3. Old Devil Moon (Lane-Harburg) 13:38 [incomplete, cut] CD2/75:24 # 1. They Can’t Take That Away From Me (George & Ira Gerswhin) > Sonnymoon For Two (Sonny Rollins) 13:59 # 2. On Green Dolphin Street (Kaper-Washington) > There Will Never Be Another You (Warren-Gordon) 19:50 @ 3. Three Little Words (Kalmar-Ruby) (22:39) * 4. ‚Round Midnight (Thelonious Monk) (8:22) [incomplete, cuts in] * 5. St. Thomas (trad.-Rollins) 10:34 [incomplete, fades out] TT: 138:51 *) not on Resonance set @) on Resonance set (both versions complete/identical) #) edited on Resonance set — :: The Edits on Resonance :: THREE LITTLE WORDS no edits THEY CAN’T TAKE THAT AWAY FROM ME > SONNYMOON FOR TWO (9:36 vs. 13:58) two cuts, first one somewhere between 6:14 and 6:24 (missing ~6:20/:25 to 8:56 of the complete version, Rollins‘ re-entry @6:25 is @8:35 in the full version), second one later, couldn't really pin it down, but the drum solo is missing (~10:45-12:56 of the complete version). ON GREEN DOLPHIN STREET > THERE WILL NEVER BE ANOTHER YOU (15:01 vs. 19:50) @ ~6:08 there's a (barely) audible edit (pay attention to the bass drum sound chaning right after Rollins stops playing); missing roughly 6:15-10:50 (bass solo, rhythm duo, drum solo); the fade at the end is identical on both versions (which has me wonder about sources used by R ...) LOVE WALKED IN (19:45 vs. 22:35) ~6:55: bass solo cut (~2:23 min; also cut some applause at end, ~0:25) FOUR (22:21 vs. 27:14) two cuts again, first is the bass solo, second portions of drums/fours; beginning to ca. 7:00 is the same on both versions, then the first cut takes place; Rollins‘ re-entry @7:49 (Resonance) is @9:21 (Bootleg); then during the fours, there's another cut; from ~10:50 (Resonance) or ~15:35 (Bootleg) to the end, both versions are identical again (R cuts around 20 sec of applause at the end) -- I'm kinda unwilling to look at this as gentlemen's behaviour. First, the rhythm sections is really firing it up and creating a great environment for Rollins to play in. Second, this environment is part of what keeps Rollins going - this is free-flow, free-association playing, and taking breaks, listening to the others, is part of the process. You don't just switch gears after four minutes and add another five, that's not how it works. And this is a live recording of great value and importance, and it really should not be treated that way - at least not in my book (doesn't compare to Columbia breaking up the Monk Quartet routine for studio recordings a bit, as those were artifical products made for a record, this is live, it's in real time, and adding cuts is really dubiuos, as a historian I'm inclined to call it revisionism). These cuts, I guess, were mostly justdone to fit it all onto LPs. The four full tracks could not have been squeezed onto a disc, BUT the full CD2#1 would have fit onto CD1 if I got my math right! So what it all boils down to: the uber-hip vinyl crowd is catered to, the recording twitched and defigured to better match their format ... and the same defiguration is used for CD/DL/whatever versions, which is TOTALLY BOGUS B-S UNNECESSARY. Ok, done. And pissed.

At least it's still good for one thing then ... still waiting for a shipping notification for my Saturday order.

Amazingly, Scott just replied--and they'll send me a good booklet! Outstanding!!! (I've already printed Daniel's pics, nicely fitted together ... I'll have use for them and the faulty booklet, quite possibly, offering it with burns to a dear friend ... perfectly legal here to share copies with personal acquaintances--but not with online "friends")

I should have ... i have that routine of checking all the new stuff upon arrival ... and I did listen to the first part of the box right after getting it, as all that music was brand new to me!

I'm really puzzled by this - I've gotten a few replacement (scratched discs, faulty booklets) over the years, never any trouble getting them ... I have no clue why I didn't ask for a new EJ booklet back in 2006, when I bought the box!

Thanks to y'all! :tup: Regarding "Mr. Jones", well, they needed a few more minutes to beef it up to LP length, I guess. Btw, this must be one of my favorite Grossman moments: About to finish my listen to discs 5-8 - terrific music, both on the studio dates (those last ones that weren't released until a few year later, are really, really good!) as well as at the Lighthouse - but I really tend to favor Liebman for musicality ... better tone, more interesting delivery, generally. His ballad feature (from the Lighthouse recording) is great as well:

I've had access to A3 scanners at work for a while (and still do) - so if I can return the favor ...

Wow, that would be amazing! There are full scans on Discogs, but too small to read ... I shot Mosaic an e-mail, too, but it's been OOP so long (I've got the bill in my box, September 2006 - I guess that's when it went OOP).

Hm, taking this off the shelves to check out Grossman again ... and not sure if I ever asked for a replacement booklet, as mine runs from pages 3-14 only and misses the beginning of the liner notes and the entire discography part ... that sucks, but I guess it's a bit late now. If anyone with a correct booklet could scan pp 1/2 and 15/16 for me, that would be terrific!

Just got to disc 5 and was wondering why I'm hearing "I've Got You under My Skin" first - guess all's okay with my set then, just a stupid mistake? -- @JSngry I get your point, but it's a non-issue - the set is perfect as it is! Plus, I'm not sure it actually contains any full set of music anyway. The run-down: March 27: 5 tunes March 26: 6 tunes March 28: 7 tunes March 29: 6 tunes (TelArc CD) October 25/26: 7 tunes October 27-29: 8 tunes (A&M double album) + 5 tunes (Artist House album) + 1 tune October 30: 5 tunes October 31: 2 tunes Assuming they did at least 2 sets per night, that doesn't quite represent any full night, except possibly for Oct 27-29, if many (two thirds) of the tunes come from, say, the 28th. Alas, there's no full discography provided with setlists - and I'd assume, since Thompson was the original recording engineer (and the reissue producer for Mosaic, obviously), they'd have had access to these, if they still existed? Either way, wonderful, wonderful set! :tup: :tup: :tup:

The cynical side of me thought about money laundering for a quick second this morning ... and now it's considering asking for a refund as the item is still listed as "shipped" and not as "cancelled" and the big company will not be able to double check if I already got a refund or not

My order was cancelled several hours after I'd received a shipping confirmation--not sure how "reputable" that makes 'em. Of course no notification/communication/apology (ordered via aUK). Regarding majors, Warner is still around, too - but I think they pulled out of jazz entirely? But I tend to agree. What sorry-ass morons ... why the hell did Feldman ever think he ought to work for them? Did they buy his soul? -- Correction: *at the same time* I got the shipping notification (triggered automatically by A, I understand - how "reputable" does that merikin deal making make? but we all know about that, right? Gotta buy me some beans now), I also got this: - Thank you for your recent order with us for Thelonious Monk - Palo Alto. Unfortunately the release date of this item has been postponed by the record label and there is currently no new release date. We are very sorry for the inconvenience that this has caused. Sadly, we have been left with no choice but to reluctantly refund this sale as we are unable to send this item to you for the foreseeable future. - So, some communication of sorts ... but they still list the disc on their site.

Thanks for sharing that @Mark13

I enjoy both of them very much. The first probably has the edge in mood, to me it really feels of a piece, finding a perfect balance between all the stuff packed into it (soul jazz, free, soul, the voices, the politics ...), the second is a bit wilder and maybe even better in making it all work - but the mood on fhe first is just so striking! I've got the Japanese reissue of "Ghetto Music" and that Euro vresion of "Black Rhythm Happening" - the later definitely not an edition to really look out for, just a flimsy 2-fold booklet that's blank inside and fails to even provide a recording date ... I seem to remember that series to be French, but I may be tricked by memory? There was a Mouzon reissue (Mind Transplant) and a couple of others from roughly the first half of the seventies in the batch, but I think none but the Gale held enough interest for me then, can't remember any others than it and the Mouzon, but likely some Bobbi Humphrey or Gene Harris in there, too? - Ha, found it, that's the batch I meant - not part of the Rare Groove series, I think: NAT ADDERLEY - GEORGE DUKE / WALTER BOOKER / ROY McCURDY / AIRTO MOREIRA / MAYUTO OCTAVIO / KING ERRISON : SOUL OF THE BIBLE - (1972 - Ex CAPITOL) RONNIE FOSTER - ERNEST HAYES / DAVID SPINOZZA / JOHN TROPEA : SWEET REVIVAL - (1972) EDDIE GALE feat. JIMMY LYONS / ROLAND ALEXANDER / RUSSELL LYLE / JUDAH SAMUEL / HENRY PEARSON / ELVIN JONES / JOHN ROBINSON / JOANN GALE STEVENS... : BLACK RHYTHM HAPPENING - (1969) GRANT GREEN feat. MARVIN STAMM / IRVING 'MARKY' MARKOWITZ / HAROLD VICK / PHIL BODNER / RICHARD TEE / CORNELL DUPREE / GORDON EDWARDS / GRADY TATE... : THE FINAL COME-DOWN - (1971) GENE HARRIS feat. AL AARONS / GEORGE BOHANNON / MIKE ALTSCHUL / FRED JACKSON / LEE RITENOUR / JOHN ROWIN / CHUCK RAINEY / KENNETH RICE... : NEXUS - (1975) STANLEY JORDAN - WAYNE BRATHWAITE / PETER ERSKINE / SAMMY FIGUEROA / ONAJE ALLAN GUMBS / OMAR HAKIM / CHARNETT MOFFETT / BUGSY MOORE / AL Di MEOLA : MAGIC TOUCH - (1984) ALPHONSE MOUZON - TOMMY BOLIN / JAY GRAYDON / LEE RITENOUR / JERRY PETERS / HENRY DAVIS : MIND TRANSPLANT - (1974) (I kept trying with the Green for several years but was never convinced enough to get it.)