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Here's an extended description posted by Resonance on Facebook. Not sure why it's not also on their site. +++ LES McCANN on RESONANCE! One day before his 88th birthday, it brings us great joy to announce the upcoming Record Store Day Black Friday (November 25th) release of "Never A Dull Moment! - Live from Coast to Coast (1966-1967)" by the unsung piano and vocal icon Les McCann. This is a previously unissued collection of live recordings captured at the Penthouse jazz club in Seattle from January 27 and February 3 & 10, 1966 with Stan Gilbert, Paul Humphrey and Tony Bazley; and also includes recordings by Resonance Records founder and co-president George Klabin from the Village Vanguard on July 16, 1967 with Leroy Vinnegar and Frank Severino. This is an official release in cooperation with Les McCann, and the audio was transferred from the original tape reels and mastered for vinyl by the legendary Bernie Grundman at Bernie Grundman Mastering Studios and pressed at Le Vinylist in Quebec, Canada. The limited-edition 180-gram 3-LP edition (and deluxe 3-CD set) includes an extensive insert with rare photographs by Lee Tanner, Jean-Pierre Leloir, Christian Rose and others; two sets of liner notes — by music journalist A. Scott Galloway and author/historian Pat Thomas (Listen Whitey! The Sights and Sounds of Black Power 1965-1975), who both contributed to McCann's photography book Invitation to Openness: The Jazz & Soul Photography of Les McCann 1960-1980; plus quotes and statements from Roberta Flack, Quincy Jones, Monty Alexander, Bonnie Raitt, Roger Kellaway, Nathan East, Bobby Lyle, Emmet Cohen and others. We'd like to thank Les McCann and his longtime manager Alan Abrahams for the wonderful music and for working with our team to put this project together, and of course Michael Kurtz and Carrie Colliton at Record Store Day for their ongoing support. [Read full press release below] FOR IMMEDIATE RELEASE: NEVER A DULL MOMENT! – LIVE FROM COAST TO COAST (1966–1967), NEW LES McCANN TRIPLE LP, SET FOR RECORD STORE DAY RELEASE BY RESONANCE RECORDS Deluxe Package Features Essays by A. Scott Galloway and Pat Thomas, Remembrances from Quincy Jones, Roberta Flack, Bonnie Raitt, Monty Alexander, Roger Kellaway, Emmet Cohen, Nathan East and more! Previously Unseen Photos by Massive booklet with many rare and previously unpublished photos by Lee Tanner, Jean-Pierre Leloir, Christian Rose and Les McCann himself Tomorrow, September 23, is the 88th birthday of pianist/vocalist Les McCann, one of the most revered and influential figures in soul-jazz. The milestone is heralded by today’s announcement that a new album, Never A Dull Moment! – Live from Coast to Coast (1966-1967), is set for release this upcoming Record Store Day Black Friday (November 24). The new album, a limited edition three-LP set, includes 1966 performances at Penthouse Club in Seattle and at New York’s Village Vanguard the next year. Between 1960 and 1966, McCann toured relentlessly and had played on more than two dozen full length records released by Pacific Jazz and Limelight. His performances at the Penthouse in Seattle in 1966 and at New York’s Village Vanguard in 1967 were captured on tape, and soon these historic recordings, totaling almost 2 hours and 20 minutes, will be the focus of Resonance Records efforts for Record Store Day Black Friday. Never A Dull Moment! is presented with sound restoration by George Klabin and Fran Gala and was mastered for vinyl by Bernie Grundman. It was produced for release by Zev Feldman and George Klabin. The Penthouse sides were recorded on January 27 and February 3, 1966 with bassist Stanley Gilbert and drummer Paul Humphrey, and on February 10, 1966 with Tony Bazley on drums. McCann’s band for the tracks recorded at the Village Vanguard on July 16, 1967 featured Leroy Vinnegar (bass) and Frank Severino (drums). The Penthouse recordings were originally recorded for Jazz After Hours, as heard on KING-FM with host Jim Wilke with the enthusiastic participation of the club’s impresario Charlie Puzzo. It’s noteworthy that the music from the Village Vanguard was captured by Resonance founder and co-president George Klabin more than 56 years ago. He used a portable Crown 2-track tape recorder and mixed the material as it was being performed. “We were just waiting for the right moment to give these historic recordings a proper release and the occasion of the master of the 88s’ 88th birthday seemed like the way to fulfill that vision in time for Record Store Day Black Friday,” stated Klabin. There’s also a bonus track “(Back Home Again In) Indiana,” recorded at the Penthouse on August 15, 1963 with bassist Victor Gaskin and drummer Tony Bazley. The package is enhanced by insightful liner notes, including Resonance co-president’s Zev Feldman’s introductory commentary, as well as extensive essays by Pat Thomas and A. Scott Galloway. Both journalists have been part of McCann’s inner circle for years and had earlier contributed written pieces that appeared in Invitation to Openness: The Jazz & Soul Photography of Les McCann 1960-1980, first published by Fantagraphics in 2015. The Never A Dull Moment! package also includes rare images from noted photographers Lee Tanner, Christian Rose and Jean-Pierre Leloir, as well as first person testimony by a range of notables including Roberta Flack (whom Les McCann “discovered” at a Washington, DC venue and brought to the attention of Atlantic Records), Monty Alexander, Roger Kellaway, Bobby Lyle, contemporary jazz pianists Joe Alterman and Emmet Cohen, Bonnie Raitt, Nathan East, McCann’s long standing manager Alan Abrahams, and the artist himself. Les McCann wrote, “When my manager, Alan Abrahams, told me that there were some recently uncovered recordings that have never been released before from the '60s, I was really curious if they were any good. People were always sending me cassettes that they have come across over the years and the sound was usually shit. When I was informed that these live recordings were from the Penthouse in Seattle (a cool venue), and also from the Village Vanguard in New York (a really cool venue), I held my breath . . . then I heard them and I said ‘Daaamn!’ People who know me know that I never planned for the future, but when you deal from the heart, you have no fear and Never A Dull Moment! – Live from Coast to Coast 1966-1967 shows that beautifully.” Roberta Flack: “Les and I found each other in the musical world of the tumultuous '60s. Les heard deeply what I was saying and his recommendation of me to Atlantic Records was a pivotal moment in my career. He is a giant in my world of music — a limitless creator, inspiration and friend.” Quincy Jones: “Les McCann has been a musical force of nature since he burst on the scene in the early 60's. Whenever I heard him live or on record, he always did the unexpected and now the 'unexpected' has happened again. These recently recovered live recordings from 1966-1967 are Les in his favorite trio format. If you’re a fan of jazz, your collection will be incomplete without this collection by one of the best.” Monty Alexander: “Les is one of those guys who was completely identifiable but he also played music that made people deliriously happy. And he was a big influence on me. Just like all the gospel piano players, like Ray Charles. He's so unique. And on a personal level, it's all because of Les that I made my first album.” Emmet Cohen: “I think that Les McCann was able to reach beyond our insular jazz community and reach everyday people outside on the street or in a bar or wherever. It's one of the most difficult things to do — to maintain your integrity as a musician and also reach everyone. Very few musicians have been able to do that in the history of the music.” Never A Dull Moment! – Live from Coast to Coast (1966-1967) LP 1 / SIDE A Recorded at the Penthouse Jazz Club in Seattle, WA on January 27, 1966. 1. Blue 'n' Boogie (5:29)–D. Gillespie, F. Paparelli / Universal Music Corporation (ASCAP) 2. Could Be (6:54)–L. McCann / Irving Music (BMI) 3. The Grabber (4:07)–M. Alexander / EMI Unart Catalog, Inc. (BMI) 4. Yours Is My Heart Alone (9:15)–F. Lehár, F. Loehner, H. Smith / European American Music Distributors LLC, Shubert Music Publishing Corp. (ASCAP) SIDE B Recorded at the Penthouse Jazz Club in Seattle, WA on January 27, 19661. The Shampoo (5:31)–L. McCann / Irving Music (BMI) 2. Wait For It (6:12)–L. McCann / Irving Music (BMI) 3. This Could Be the Start of Something Big (4:01)–S. Allen / Meadowlane Music Inc. LP 2 / SIDE C Recorded at the Penthouse Jazz Club in Seattle, WA on February 3, 1966 1.Out In The Outhouse (5:44) –L. McCann / Irving Music (BMI) 2. A Night In Tunisia (6:16) –D. Gillespie, F. Paparelli / Universal Music Corporation (ASCAP) 3. Da-Da (4:45) –L. McCann / Irving Music (BMI) SIDE DRecorded at the Penthouse Jazz Club in Seattle, WA on February 10, 1966 1.Lavande (7:24)–L. McCann / Irving Music (BMI) 2. There Will Never Be Another You (7:23) –H. Warren, M. Gordon / Four Jays Music Co., Mattsam Music, Morley Music Co. (ASCAP) Recorded at the Penthouse on August 15, 1963 3. (Back Home Again In) Indiana (7:53) *–L. Hanley, A. Meader LP 3 / SIDE E Recorded at the Village Vanguard, New York on July 16, 1967 1. Love for Sale (7:11)–C. Porter / Warner Bros. Inc. (Warner Bros. Music Div.) (ASCAP) 2. I Can Dig It (8:24)–L. McCann / Irving Music (BMI) 3. Doin' That Thing (8:57)–L. Vinnegar / Second Floor Music (BMI) SIDE F Recorded at the Village Vanguard, New York on July 16, 1967 1. I Am In Love (6:07)–C. Porter / Chappell-Co Inc. (ASCAP) 2. Goin' Out of My Head (3:11)–T. Randazzo, B. Weinstein / Vogue Music (BMI), Universal Music Publishing Canada II (SOCAN) 3. Sunny (9:13)–B. Hebb / Bara Joy Music Co LLC, PW Ballads, Songs of Universal Inc. (BMI) 4. Blues 5 (5:00)–L. McCann / Irving Music (BMI) 5. The Shampoo (1:36)–L. McCann / Irving Music (BMI) About Resonance Records - Resonance Records is devoted to preserving jazz and discovering the rising stars of tomorrow. The label is a division of the Rising Jazz Stars Foundation, a California 501(c)(3) non-profit corporation created to discover the next jazz stars – passionate, brilliant musicians from around the world. It assists and supports them through recording, performance opportunities and distribution of their art. Every Resonance album is produced without compromise, to create and preserve its artists’ jazz legacy. For more information please contact: Bob Merlis / M.F.H. (Merlis For Hire) Ph: 323.962.6887 / bobmerlis@bobmerlis.com

Also stunning how different his studio work was from his live performances

SFJAZZ

Good album. One of a couple posthumous releases that were rumored to be his next studio album

RIP Dallas 🥺

I know this group isn't considered his peak, but it marks a point of transition for him. It was pretty much the last time played the edgy, almost-out-of-control solos and fills that put him on the map with his guitar contemporaries at the time. Blow by Blow came next and he was changed forever. A lot of the songs are un-spectacular but the guitar playing IS.

Thursday night: The Baseball Project ALWAYS entertaining!

Jeeez! Again ... it looked fine when I posted it, and then checked back later. What's UP with that?

Testing >>>>> Huh ... seems to work! Never did it this way.

I used to be able to copy and past photos from my Google Photos web drive into threads here, no problem. But recently it's not working. I paste the photo into the submission box, it looks fine at first, but later converts to a bunch of text-based code for some reason. Anything change? Or any suggestions?

Good one!

Those ALL sound great! Looking forward to ALL the Threadgill shows, too.

There was a VERY bluesy set by James Blood Ulmer this year

Tomorrow night

NYT Terence Blanchard, Pushing Jazz Forward From a New Perch The trumpeter and composer follows the premiere of two Met operas with an appointment as executive artistic director of SFJazz in San Francisco and a Jazz Masters honor. By Giovanni Russonello Sept. 6, 2023 Two big announcements came down recently about the trumpeter and composer Terence Blanchard — both monumental, neither one a surprise. In June, the National Endowment for the Arts announced that Blanchard, 61, would receive a 2024 Jazz Masters fellowship, the highest lifetime-achievement honor available to a United States-based improviser. Then a month later, as if a reminder that this lifetime still has a few major chapters ahead, the nonprofit organization and performance center SFJazz named Blanchard its executive artistic director. Hardly any other musician has so solid a grasp on the scope of what’s going on in jazz today — and no institution is as committed to reflecting, even goading, its growth. https://www.nytimes.com/2023/09/06/arts/music/terence-blanchard-sfjazz.html

They really captured the look of 60s bootleg LPs with that cover

HA! Mayyyyyyyyyyyyy-be! 🤩 Saw them at Big Ears. You're going to like them!

I give up. When I paste them in, they’re there. Even when I refresh the page. Sorry!

Sorry about the pictures! They showed up when I pasted them in. Let me try again

I'm actually not that familiar with this era myself, but the Mudd Club date is pretty excellent. Maybe because it's Zappa ... in a NYC club! A very tight unit he had there.

A couple of "action" shots from Sunday's Zorn shows. 1) Cobra, 2) New Electric Masada

Perhaps a little insight ... Posted by Malcolm Bruce “The following footage of LIFETIME has apparently just surfaced from the Beat Club archives. I’m wondering if there is more, although my understanding is that these in studio sessions were limited to 30 minutes. This was my Dad’s favourite band that he was involved with, for so many reasons I understand that notion, the sheer musical potential between them was self evident. Unfortunately it seems nobody really ‘got’ the concept, especially the industry. This I believe was the 2nd iteration, the first being a trio with just Tony, John and Larry, which without wishing to detract from them, was essentially a more conventional albeit avant-garde group. With the inclusion of my Dad it became something completely unprecedented. It was a time when real musicians who could actually play desired to be like rock stars as opposed to being pigeonholed by an industry devoid of insight into the potentialities of music making. And I’m not sure spiritually we have advanced since then, in fact I think we have regressed. Also, from the comments section: apparently some footage was shown in episode 61 of Beat Club, of McLaughlin rolling his eyes and the band stopping mid play, with presenter Uschi Nerke telling the viewers, ”Lifetime have behaved so badly and arrogantly in the studio that the work didn’t lead to any presentable results and had to be cancelled.” Read into that what we will, but I do hope there is more from this studio recording. The only other recording I have encountered from this lineup playing live is an audience recording from one of their U.K. shows (of which there were only a handful, some I believe booked by the late great Stuart Lyon) and it’s essentially unlistenable.”

Coincidentally I was just listening to THIS

SFJAZZ had an open house today and we were allowed backstage to see what it's like. One of the walls is lined with signed drum heads from those who played there