king ubu

Wouldn't attribute too much to that, Outhere keeps imprints alive after takeover, or starts integrating them slowly (i.e. the alpha collection now includes Zig Zag discs, but for the larger and still alive Arcana, they seem to devise a separate nice price series, while for the also very much alive Ricercar they already did so). Outhere has only very few jazz releases in it's catalogue so far, while Hat Hut is a strong brand, so keeping the brand alive is probably part of the strategy (that still seems pretty non-existent so far). What I got to hear (ne hear-say, mind me!) is that he got paid a sum per master tape that amounts to a pretty nice starting budget for his current enterprise ... but that indeed with the sale he passed it all on (except for the url, but I'm not sure that was what Outhere expected ... it IS weird to use the old website to advertise the new label, but then I guess hathut.com still has plenty of traffic). On ezz-thetics (with an a at the end, my bad!) I agree, hope Uehlinger keeps up the pace.

From what I know, Mr. U cashed in and ran ... no distribution but sold, gone, ties cut.

ezz-thetic - but listed hathut.com … that *is* confusing. And I guess I'll go for it, too! Got several others besides the fantastic Giuffre in the meantime. The Lossing, Shipp and Koglman are all pretty good, need more time/spins with the Studer, which to me on first Impression wasn't that easy to get into, but I may have picked the wrong day to give it a spin. Also just got Vol. 1. of Trane in Graz, but had no time yet to listen, same with Kimmig-Studer-Zimmerlin with George Lewis. Somehow, while Uehlinger still has weird ideas (the botched Marion Brown, re-programming the sequence of Trane in Graz …), it almost seems like he's back on track (and still the old stubborn self, pissing off the new owner of the Hat catalogue … after all, the Chinese logo on the ezz-thetic Releases seems to stand for … yup, right, "Hat Hut" of Course ) I guess I'll consider Outhere on track with Hat once they put out the missing part of Braxton in Willisau ... Anyone knows if there are any plans regarding the Joe McPhee Recordings? Will he bring them back with CvsD or Not Two? I certainly hope to see some more of it being reissued. Btw, the new Rivers on NoBusiness is terrific!

Perfectly legal in Trumpistan, I guess?

Well, funnily, Amazon just sent me a note apologising for the delay: the set shall be delivered between Dec 28 and 30, when it was to be delivered Jan 23 to 25 upon ordering. That's a funny conception of "delay"

But that's because they mostly don't fill CDs (which is fine with me, but if it opposes their 7 CD rule I don't understand)

Just pre-ordered at a.de, 57€ but with a mid January release date ... is there an official date that has not been postponed for a while?

"Emanation" is excellent … I've put in my pre-order for the second in the series … not the trio but still Holland/Altschul - looks mighty good to me!

I found Rosenthal's book - a Long-form essay in many respects - very interesting and in some respects pretty thought-provoking, too (the "inclusive" Approach, mostly, which makes a lot of sense to me, and Rosenthal has a way of concisely putting things into just the right amount of words). Mathieson seems to have rather less appeal from what I gather here - or rather, as Big Beat Steve puts it, has to be taken for what it is ...

Thanks! Ordered mine now ... this is going to be quite a ride, it seems!

I am thinking of doing so ... got this on three old Black Lion/DA Music Discs.

Seems this is making a reappearance, was completely unaware of it until a few minutes ago... http://www.cdjapan.co.jp/product/MZCB-1390?utm_source=MAIL&utm_medium=text-genre&utm_campaign=Jazz-20191023-genre-MZCB-1390

In part, I guess ... but the Dylan series has gone far beyond the copyright threshold (music from the 70s and 80s). Similar, but not as clearly, with the MD series.

The same estate that gets glorified in the liner notes to the new "Rubberband" disc ... actually I'd be curious to hear how those tapes sounded before the workover (which included, so the notes say, even note-for-note/tone-for-tone re-enactments on some tracks), that is beyond the couple of tracks that were included on the French Warner box ... but much more I'd have been interested in half a dozen or more further volumes of the MD bootleg series.

Storyville seems to have failed to provide a line-up ... they list one on the website, and I guess there's no question marks generally: Cootie Williams, Harold “Money” Johnson, Eddie Preston, Mercer Ellington, John Coles (tp), Chuck Connors, Malcolm Taylor, Booty Wood (tb), Russell Procope (as, cl), Harold “Geezil” Minerve (as, f, pi), Norris Turney (as, ts, cl, f), Harold Ashby (ts, cl), Paul Gonsalves (ts), Harry Carney (bars, cl, bcl), Duke Ellington (p), Joe Benjamin (b), Rufus Jones (dr), Lena Junoff, Nell Brookshire, Tony Watkins (vcl) https://www.storyvillerecords.com/products/uppsala-1971 That is, generally ... but regarding the singers, there is. Reviews mention Nell Brookshire and Tony Watkins doing a rollicking or embarassing (depending on point of view) version of "One More Time (for the People)" a.k.a. "One More Once", but one of the Swedish reviews published via ellington.se fails to list both Lena Junoff and Nell Brookshire, instead providing Bobbi Gordon, while the other again mentions Brookshire/Watkins: review and links found here: https://ellington.se/2019/08/11/duke-ellington-in-uppsala-1971/ Not that it matters all that much, but why can't Storyville list the personnel in their booklet?

O SI BI SA Fourth is a back cover, fifth one of several single sleeves fitting the bill.

Not on the first one either, the contents of which can be checked here: http://www.depanorama.net/dems/071c.htm

Yup, but no Need to go to Brussels for doing that

Well, if there's nothing going on there, you can still have a beer (or three or seven) at La Mort Subite ...

Thanks - I guess it's quite easy to tell by comparing their playing styles anyway (and then it's Page indeed, Foster is one of the final BN Bechet sessions and does his old school two beat and slap bass thing, which is very different from Page's style), but I was wondering where that inaccuracy might come from.

I guess that's why I think the live double album by his working quartet is the one you really ought to hear I loved that band in Zurich, and despite a different bassist and drummer in Antwerp, they were still supertight and yet loose in a way that nothing really seemed predictable ... -- Also apologies for not having read Evans' name above ... I'll keep following what these guys and gals will do, I guess, but I have my reservations (which somehow seem to apply to plenty of the "white" jazz that's going on, no matter what skin colour and roots some of these folks actually have ... and I know "white" is not a sound label, but I guess it delivers the point), but with Akinmusire, there's none of that so far, at least in live context.

There's The Music Village, right in the Center ... redbeans and myself heard Rhoda Scott on two successive nights there, a few years back. The current programme doesn't look that great, but maybe you're lucky one day/night?

Question about the two early 1949 sessions: the Mosaic box (1985) gives Pops Foster on bass for the January 21, 1949 (but Walter Page for the next one from March 23, 1949), while the 1998 CD "Runnin' Wild" says it's actually Walter Page on bass for both (which is a somewhat surprising choice, but then honestly I have no clue what Page did after the Basie OT band fell apart, and in those days almost everything was possible anyway, or else the money was right ... not saying to play with Bechet was an occasion where the money had to fit, but that Red Allen dixieland album on Verve makes me cringe, to name just one example). Here's the "accepted" line-up for the sessions (per jazzdisco.org, matching the 1998 CD): "Wild Bill" Davison, cornet; Sidney Bechet, soprano sax; Art Hodes, piano; Walter Page, bass; Fred Moore, drums. Anyone has any insight why/when the "change" took place?

Just back from Middelheim Jazz Festival, where Akinmusire was artist in residence this year ... I've heard him in person already last winter with his fantastic quiartet (the one on the Blue Note double album from the Village Vanguard). I very much like his approach, both tonally as well as rhythmically ... and the band was truly together in a way that I've not heard all that often yet, all four able to jump in at any time and take any turn right away--a very challenginng approach it seemed, yet also one that allowed plenty of looseness on all sides. Sam Harris (his EP "Harmony", bandcamp/dl only, comes recommded, too!) is a great new voice on piano/keys, too. At (in) Middelheim (a part of the city of Antwerp which is worth a visit, independently of the festival), the first appearance by Akinmusire was with "Origami Harvest". I was a bit doubtful how well this would work in a live setting, but it gelled right away. This was the first set after a fun opening by Idris Ackamoor & The Pyramids and an amazingly powerful set by David Murray's quartet with Saul Williams. A supercharged set indeed--I heard them for the third time and they smoked this time around, never heard Murray in such a mood ... he was in front row checking out Ackamoor's final ten or fifteen minutes, and I guess he went back with the will to show them boys how to really do it, and so he did, his band right with him. This seemed like a nearly impossible act to follow, but the Akinmusire band (with rapper Kokayi [Carl Walker], Sam Harris on piano/keys, Kendrick Scott on drums, the Mivos Quartet - which is right now playing with Saul Williams at Lucerne Festival, alas I'm not attending that) was on from the first beat. The two middle sets from the opening night would remain two of the four or five best sets of the festival (Pharoah Sanders did the closing set ... it was much better than I feared, but still ...) On the second day, Akinmusire was probably rehearsing for the first of his sets on closing night, but on day three he was back. That night was adressing a different crowd, standing room only, the incredibly boring Nubiya Garcia (her band being the only one at the entire festival whose names weren't mentioned, a case of dumb disrespect, but I guess this is pop music ... sax tba, p tba, b tba, d tba - not quite sure it was really her playing, maye she sent in a sub ) ... anyway, we were there for the second set, which was Akinmusire's "Mae Mae", a project attempting to incorporate samples of the recordings made of the singing of Mattie Mae Thomas. The line-up this time was Akinmusire, again Kendrick Scott on drums, singer Dean Bowman, Joe Sanders-b, plus Gerald Clayton-p and Marvin Sewell-g (both part of the Charles Lloyd band that provided another highlight the night before). The set took a while to get going and proved a bit difficult. The interplay (or rather togetherplay) by Clayton/Sewell wasn't as amazing as the night before, but by the time the set came towards its end, I was quite stunned overall. Bowman was quite charismatic, the rhythm section pretty great, only those samples weren't really working at all ... triggered by Kendrick Scott, they weren't even matching in tempo, and with the rather thick orchestration of the band, and then Bowman singing at the same time, it kinda stopped making sense, yet that was definitely not the intention. Anyway, an okay set still, not a great one. On closing night, Akinmusire had two gigs. We skipped the first set that night and arrived in time for his first appearance, with a quintet of students of the Antwerp conservatory. This was a more or less ECM-ish set, with Akinmusire blending in and never attempting to outshine the other guys, who were pretty competent and actually better than I was hoping, but it was all a bit too nice, too melancholy, too subdued for my likings. Two sets (and standing ovations for an awfully nice Toots Thielemans tribute headed by Kenny Werner and Grégoire Maret and featuring a messy guest appearance by local hero Philip Catherine) later, Akinmurise played a quartet set with Harris, Sanders and Scott over on the small stage, and that final set kind of saved closing night. Again they were focussed, to the point, alert, the music and the rhythms taking twists (Scott seems to have his hip stuff down, breaks and all, his beats sometimes skipping a milli-second or being delayed for a blink of an eyes etc.). Akinmusire well, yeah, he shined, but he doesn't do that in a flashy in-your-face way most of the time, he keeps his tone alive, adding shades and colours (and those dissonances mentioned above), his lines flexible and his beat pulsing. And I think he does bring qualities to his music that those mentioned by Steve above mostly lack, a punch, a puckish style, also loads of fun that don't make his stuff leightweight at all ... I love Santos Silva's clarity, I admire Finlayson, enjoy Knuffke and Berman, sometimes like Wooley, but am pretty bored by Branch ... either way, none of them have the force that Akinmusire has (and I guess all of them, most of the time, are too serious about their stuff and not leeting lose quite enough, which may actually be my main issue with Wooley, and partly with Peter Evans, too, who hasn't been mentioned for whatever reason, but this thread is about Akinmusire anyway and that constant derailing is getting extremely tiresome), at least that's how I hear it. -- PS: Where's that noughties recording of Rufus Harley on trumpet? Or what was that all about anyway? Please answer in the fitting thread, which is not this

Got mine today, very nice hardcover book with plastic trays front and back holding the disks and a booklet in between. Haven't listened or read anything yet.