mjzee

There was an interesting review of the album in Stereophile. They said the later date is great, and should have been released on its own, implying the earlier date should not have been released.

I seriously think BN should start a "rejected" series. Release it all! Be clear that these tracks or sessions were not considered worthy of release in their time, and that Alfred Lion would not approve of their release today. Then release it all. Let us derive from them what we can. Perhaps there's a date where most of the musicians are good but there's one who's a clunker. What I hear in many of these sessions is the sound of another time, which simply cannot be reproduced today. They're precious. Or to put it another way, were all Prestige, Riverside and Savoy dates fabulous? No, but they all got eventually released. BN announced that these dates weren't good enough; the other labels just kept their mouths shut. Let the listeners decide.

Maybe they simply paid for YouTube?

I'm intrigued. Not sure I really need it, but it would be nice to revisit the experience. Now if they'd only do the same with the Vanguard Argo date (same corporate parent these days). Master tapes probably burnt in the fire, sadly.

Vladimir Horowitz - Complete Recordings on Deutsche Grammophon, disc 1.

I'm on a Mac, and mostly use Safari. Sometimes Firefox, occasionally Brave, rarely Tusk or DuckDuckGo (though there's nothing wrong with either of them).

Riccardo Muti - The Complete Warner Symphonic Recordings, disc 33.

Artur Rodziński - New York Philharmonic, The Complete Columbia Album Collection, disc 16 (last).

Riccardo Muti - The Complete Warner Symphonic Recordings, disc 32.

Summer of Soul was OK, but there was way too much political footage (interviews, etc.). Less Nina Simone would have also been welcome.

I remember huge amounts of the BYG/Actuels as cutouts in spring 1974. At least one of the records I bought had a flat outer rim (not raised). Very exotic.

Release date March 21: One of the more exciting aspects of jazz and other improvised music is the drama in it's unpredictability. There have been sages in the music that mastered the art of surprise, providing decades of inspiration for aspiring performers and dedicated listeners. Ray Suhy and Lewis Porter have captured the fire of these sonic explorers, presenting their latest offerings on their new recording, a diverse collection of pieces that will keep listeners on the edge of their seats. The title, What Happens Next, is deliberately provocative and open-ended.Guitarist Suhy was captured by the transcendental sounds of John Coltrane and Miles Davis during his early musical studies. Though he is perhaps best known as the lead guitarist in the death metal band Six Feet Under, Suhy has always remained tied to jazz as a vehicle for his self-expression. Porter has a devotion to the music as a pianist, performer and scholar. He was a longtime professor and director of the Rutgers-Newark University's Jazz History program and, now, publishes Playback with Lewis Porter on Substack.The two were introduced by mutual friend and collaborator, saxophonist-composer Allen Lowe. The pair's instant connection was due to their affinity for the music of Coltrane and other boundary breakers of music. Since their meeting, Suhy and Porter have recorded three albums, collections of original music inspired by their broad musical inspirations and their brilliant collaborative bandmates. Drummer Rudy Royston returns on What Happens Next. He is a perfectly creative timekeeper who Porter met while the drummer studied at Rutgers. He has become an instrumental part of Suhy and Porter's Quartet, as his crisp dynamism is only matched by his arranger's mentality. Sharing the same arranging brilliance, Joris Teepe returns to his bass role with his rounded, sonorous tone and singular soloist style. For their new record, Suhy and Porter wanted to broaden their sound palette and present a program of music that honored other influences while expanding their range. When the Quartet entered Teaneck Sound on April 17, 2023, they came with a number of legends on their mind, including Thelonious Monk and the recently departed Wayne Shorter, whose work with the Miles Davis Quintet was a foundational inspiration to Suhy. The partnership between Ray Suhy and Lewis Porter continues to evolve and expand as they delve further into the worlds of improvisation and jazz. Together they hope to excite and surprise, as they continue on their musical journey with their new recording, What Happens Next.

Release date April 4: Yes, Brouqui is French and a phenomenal guitarist/composer and this is his SteepleChase debut album. But no, this is not of French Gypsy tradition. He is out of pure American modern jazz vein with a touch of French elegance. He commutes between Paris and NYC performing and recording. "A warm jazz full of swing. His inspired and fast guitar interprets with assurance and sensitivity. We will savour the creative breath of his improvisations... highly recommended." (Claude Olberg - Jazz Magazine) Release date April 11: Hammond B-3 organ has a rich host of illustrious players in the jazz history including Jimmy Smith, Jack McDuff, Joey DeFrancesco to mention a few, but Brian Charette is the first (and so far the only) jazz artist who recorded solo organ albums. The first release was highly acclaimed SCCD 31756 Borderline of 2013. Here on his third solo endeavour Charette delights us premiering as vocalist on 2 tracks. "Charette is a burning soloist who understands the tradition of the Hammond B-3 as well it's future-just as certainly as he understands his place in that lineage." (Ken Micallef - Downbeat)

Release date March 28: From the very first note, Norway's Jon Balke proposes a new sonic dimension with Skrifum, continuing a line of inquiry begun with Warp (2016) and Discourses (2020), solo piano albums that also processed the acoustic environment in which the music was heard. Skrifum (the Icelandic word for "write") takes things a step further. With the aid of electronic audio tool Spektrafon (which he helped develop), Balke is now able to directly manipulate ambient audio sound from the piano while playing - pulling out frequencies and sustaining them as chords of harmonics.

Release date March 14: • Over two hours of previously unissued live Art Pepper • Mastered from the original tapes by Grammy® winning engineer Michael Graves • Packaging contains liner notes from set co-Producer, Laurie Pepper In 1980, Art was 54; his health was poor, but his creativity was at its peak. So was his ambition. He was touring Europe for the first time. He’d brought his own band, his own tunes. He was determined to astound the world. ––Laurie Pepper (from her liner notes) At the time of this recording in 1980, Art Pepper had been a mainstay in the world of jazz for nearly four decades. Starting out as a young player in his teens, he accompanied acclaimed artists Benny Carter and Stan Kenton. From there, his collaborators read like a ‘who’s who’ list of 20th century greats. His solo career, however, was legendary. It's impossible to talk jazz saxophone without the name Art Pepper in the mix. Through his life, troubled as it may have been, one thing was always a constant – his music. As evidenced by 2023's acclaimed The Complete Maiden Voyage Recordings, a 7-CD testament to his effortless playing recorded months before his passing, Art Pepper never disappointed, instead, he thrilled and beguiled audiences around the world. Geneva ‘80 collects ten performances recorded July 5, 1980 at the New Morning in Geneva, Switzerland. Backing Art on alto saxophone were Milcho Leviev on piano, Tony Dumas on bass, and Carl Burnett on drums. A set of almost all originals left the crowd astounded. Art was so exhilarated by their rowdy, ravenous appreciation, he was at his very best. As was the band. The band was tight. All the tunes are great. This version of “Patricia” might just be the best on record. I’ll swear this is the hottest version of “Miss Who” he ever played. ––Laurie Pepper (from her liner notes) Available Digitally, and as a double-CD, Geneva ‘80 shows that Art Pepper never stopped creating, performing, entertaining, and solidifying his place as one of the jazz greats. Hear why.

Release date March 7: Claire Martin's Almost In Your Arms, released on vinyl, CD, and digital formats, solidifies her status as one of today's finest jazz vocalists. Known for her boundless creativity, Claire returns to collaborate with her Swedish trio--pianist Martin Sjöstedt, bassist Niklas Fernqvist, and drummer Daniel Fredriksson--alongside an all-star roster of guest musicians, including Karl-Martin Almqvist (saxophone), Joe Locke (vibes), Mark Jaimes (guitar), Nikki Iles (accordion), Charlie Wood (vocals), and producer James McMillan (trumpet, flugelhorn, keyboards). The album features a carefully curated selection of tracks that reflect Claire's deep connection to jazz and her exploration of various sub-genres of popular music. Opening with the vibrant classic "I Feel a Song Coming On," the album spans a wide range of material, from the wistful title track "Almost In Your Arms" to poignant originals like "Apparently, I'm Fine." Highlights include her duet with Charlie Wood on Tom Waits' "This One's From the Heart" and her interpretation of Rufus Wainwright's "The Art Teacher," both of which showcase her ability to re-imagine unique compositions with emotional depth and jazz sophistication. Claire also ventures into lesser-known gems like Carole King's "Bitter With the Sweet" and modern classics such as Burt Bacharach and Elvis Costello's "This House Is Empty Now." Each track is enriched by the intuitive interplay of her trio and the nuanced contributions of her guest musicians. Produced by James McMillan, Almost In Your Arms seamlessly blends timeless jazz sensibilities with fresh arrangements and Claire's signature elegance. After nearly four decades in music, Claire Martin proves she is a masterful vocalist and storyteller, breathing new life into every song she touches. This album is a must-listen for jazz enthusiasts and anyone seeking compelling vocal artistry.

Release date February 28: Ella Fitzgerald virtually invented the live album. Her performances were so consistently great that almost any live show was special enough to release as a record. For Ella Fitzgerald, every night was The Moment of Truth. In the summer of 1967, Ella Fitzgerald was in the middle of a three-year touring and recording collaboration with Duke Ellington and was incorporating hit pop songs of the late-60s into her concert repertoire - two of which are presented here for the first time on record.

Release date February 14: For Lullaby, Norwegian trumpeter Mathias Eick draws on the quartet formation in a program that includes some of his most exploratory and improvisatory qualities to date, with a cast of ECM familiars Kristjan Randalu and Ole Morten V?gan on piano and bass, and new arrival Hans Hulb?kmo on drums. There's a sense of abandon within these deeply melodic songs, as the musicians flow smoothly between harmonies, collectively building momentum from within the forms. Eick's immediately recognizable and soothing tone is often confronted by Randalu's in turns lyrical and energetic keyboard flights, soaring above a propulsive, always engaging rhythm section. The album was recorded at Rainbow Studio in Oslo. Release date March 28: After twenty years of playing together, the Billy Hart Quartet - with Mark Turner, Ethan Iverson and Ben Street - is distinguished by its stylistic openness. A drummer of enormous experience, who has played through many of jazz's idiomatic upheavals, Hart, now 83, advocates a `multi-directional' sound approach, and his younger confreres respond accordingly, each piece subtly opening another door. The new album, Just, was recorded in New York's Sound On Sound Studios in December 2021. Release date February 14: Soprano saxophonist Yuval Cohen's debut for ECM captures him charting innovative paths through eight originals in graceful interplay with his freshly formed quartet. Pianist Tom Oren, bassist Alon Near and drummer Alon Benjamini are longtime acquaintances of Yuval's who are not only outstanding instrumentalists themselves, but share a deep, intuitive understanding for the leader's musical language and improvisational approach. "I'm very fortunate to be able to play with these young guys," says Yuval. "I've known them for a long time - they're three beautiful souls and talents with whom I had a great time shaping this music together." Throughout the album, Cohen demonstrates his understanding of chamber jazz dynamics and explores a broad range of influences to lyrical and contemplative, but also energetic and uplifting results. Release date February 28: Julia Hülsmann's Quartet resurfaces with a fresh Norwegian voice on horn in tow and presents an attractive batch of originals that finds the group thoughtfully exploring common ground with a knack for adventure. As on past outings, each quartet member contributes music to the session, the leader herself being responsible for half the program. Saxophonist Uli Kempendorff's introduction to Julia's trio on 2019's Not Far From Here already brought a new dimension to the group's interplay. This sense is again amplified and expanded upon through the addition of Norwegian trumpeter Hildegunn Oiseth. Spellbinding lyricism and playful rhythmic and melodic interaction conspire throughout Under The Surface, a gem in Julia Hülsmann's increasingly impressive ECM oeuvre.

Artur Rodziński - New York Philharmonic, The Complete Columbia Album Collection, disc 15.

Riccardo Muti - The Complete Warner Symphonic Recordings, disc 31.

It’s a labor of love; thanks.

Artur Rodziński - New York Philharmonic, The Complete Columbia Album Collection, disc 14.

Riccardo Muti - The Complete Warner Symphonic Recordings, disc 30.

https://www.discogs.com/release/12799601-Dexter-Gordon-Have-No-Fear-Dex-Is-Here This CD version listed on Discogs has All The Things You Are @ 23:32, which is probably the same version as on YouTube.

Artur Rodziński - New York Philharmonic, The Complete Columbia Album Collection, disc 13.