Niko

that is not quite the same material even though there are probably overlaps... for instance, around 1:16, after a Han Bennink interview in German about Alphorns, there are 20 minutes of "Song for Christa" (Brötzmann) played by Cherry/Brötzmann/Dyani/Bennink

thanks so much for posting, also really nice to see them discuss between tracks and everything...

I like that album a lot...

I know what you mean... Somehow it has this sentimental edge for me, so, it feels very much like music made by someone who grew up in the 90s just like me.... Discovered him on the Smalls streaming page at some point in 2010 or so and have been following his activities aince

I found this 2005 post by Chuck Nessa yesterday, and now I want this pretty badly...

I liked that one as well... some others: Wadada Leo Smith & Amina Claudine Myers – Central Park’s Mosaics of Reservoir, Lake, Paths and Gardens Colin Vallon – Samares Nir Felder – III Alexander Hawkins & Sofia Jernberg – Musho Nduduzo Makhathini – uNomkhubulwane Ken Peplowski – At Mezzrow John Zorn – New Masada Quartet Volume 3

https://www.discogs.com/master/3454421-أحمد-Ahmed-Giant-Beauty

"he ended his life by jumping out of a hotel window" is not the conclusion that Jeroen de Valk reaches in his excellent book - his most likely scenario after talking to many people is that Chet was sitting on the window sill and then fell... Not saying that what your father in law saw wasn't real (that particular police station must have been an interesting place to work anyway), but it seems fair to say that he saw mostly the low points of a life where the highs and lows lie a lot further apart than for you and me... I agree with Д.Д. that Chet did better in the 80s than pretty much any comparable junkie musician and legions of sober ones; and that there is not much reason to believe that he was particularly unhappy in those years even though there were certainly moments where he would have wished stuff was different

to me, this sums it up pretty well... of course, there'll be some gems in the huge catalogue, but by and large Concord albums almost always underwhelm me compared to albums on Pablo, Discovery, Xanadu and many other labels from that era... no idea where they went wrong but it's not the musicians or the style of music, it must be something in the production... by now, I am fairly consequent and skip them even if it's something that should be right up my alley otherwise... Now, clearly this has nothing to do with the new Emily Remler release...

Indeed, I just listened to Doug's Prelude and there is no trumpet or cornet to be heard, neither Cherry nor Dorham. Noal Cohen's discography also doesn't list him with the soloists for the track (even though he includes him in the session personnel) https://attictoys.com/clifford-jordan/clifford-jordan-discography/ but, indeed, it sounds as if Cherry was not present on that track...

agree that that second tenor player on the Stitt record still takes the cake, agree with you and Dan that the priorities in those deluxe packages seem completely off... who needs a booklet with "recollections from esteemed guitarists Russell Malone, Mike Stern, Rodney Jones and Dave Stryker along with Remler advocates Mimi Fox, Jocelyn Gould, Amanda Monaco" if you can't trust the lineup and tracklist...

that's what a guy who turned down the job and left the music business for a, well, criminal career (link, video) said... somewhere in the book, he points out that a turning point for him was the humbling realization that from a purely financial viewpoint being Miles Davis is fine but being Charles Mingus is not any more attractive than many, many other non-musical careers out there... but the Rollins job really didn't sound too attractive financially, also compared to other music jobs he had... I guess he had this expectation that playing with Sonny Rollins was the big time, which it was in some ways, but not in others

what I found illuminating was the passage about the Sonny Rollins tryout and the very modest salary offer in Charles Farrell's autobiography (not that much jazz content in the book because there wasn't a lot of money to be made)

happy to subscribe as well but I would strongly advise against making this anything more than a voluntary option... registering here is already quite an achievement these days it seems - so we shouldn't add a second hurdle of having to pay 50$ after making it through the registration before one can start posting... at the very least, I would give people the first 100 posts for free (wonder who the last newbie was to make it past 100 posts... I bet it was some time ago)

Thanks!