1) What were the cover letting colors on the Blue Train? Yellow or Green?
2) I have learned to tolerate that “Original Pressing” for a BN means anything with a blue and white label pre 1980 reissue.
“First Pressing” on the other hand should be very precise and follow the guidelines we use on this site. If people that are not dealers are ignorant of what that entails (and who can blame them for not being crazy like us), I can forgive them. When dealers or supposed expert sellers toss the term First Pressing out, then, shame on them.
When buying old jazz vinyl, a picture’s worth a thousand dollars!
somewhere in Jazzcollector:
“was also chatting with Larry Cohn about this one earlier in the week and here is what he had to say on this auction:??“BLP 1577 was issued in what we commonly consider the first pressing with the old (leftover in stock) 63rd NEW YORK 23 label on one or the other sides.The 63rd NYC both sides pressings, which commonly circulate, overlap with the first pressings, but are not probably “old” in that they would have been in use, covering several pressings, from 1957 through much of 1959. That is why I consider them 2nd pressings by default.
I did a calculation once based on frequency of occurrence (I have seen hundreds of these records over the years) and determined that RANDOMLY there would have existed in the neighborhood of 5 copies total of 1577 with the old 63rd NEW YORK 23 label on BOTH SIDES”.
rudolph:now we’re breathing no more:please,keep the colours out.
and is the small lettering,I think address on back cover,the same as 1595,somethin’ else ?
at last:I’d pay everything to see you in front of “the perfect 1577” and hear you say:no,thanks…
dottore: awesome, to speak with our friend djukic, five copies only!
I meant small letters on the label for the common “first” 47W63 adress without 23.
Dave for the colours on the sleeve:
my copy has Blue Trane in beige/light brown and Blue Note 1577 in grey. JC in light green.
How is yours?
Duke Pearson’s Merry Ole Soul. Blue and White label Liberty. Saddest part was they made Duke dress up as Santa Claus on the cover. Alfred and Frank never would have humiliated someone like that. I hope Duke took his advance and quit after that.
free jazz question re art ensemble of chicago:chi-congo.mine is a 1972 french Decca,soft cover.
recently I discussed with a reputable seller about first pressing of this one (he had 2 for sale on Paula,1973).He didn’t even know the Decca issue.
does anyone who follows free jazz make light on the first issue ?
and a small note:free jazz doesn’t seem interesting for people in this community.I think it’s a pity ’cause it’s the last original jazz,lived a short season and died 40 years ago.since then nothing new for my ears.
I am following at random those albums that are favourites of mine.
The score of last weekend:
-Rollins Sax Colossus PR: $ 2035
-Rollins JJ Monk Blue Note 1558 with ny23 labels: $ 932
-Paul Gonsalves Boom Jackie Boom Vocalion UK: $ 1219
dottore: agree with your comments on free jazz, nothing new since, but itself also ending in a dead alley, like hard bop, fusion and you name it.
I for one dig Ornette Coleman, Cecil Taylor and some Albert Ayler, but it ends there.
Cannot help on the Chic. Art Ensemble.
…Ceedee, I’ll admit that I too have a copy of Mel prominently mounted on the wall here in my office. Although it is Mel Torme And Friends Live At Martys NYC with that great Hirschfeld sketch, but you make a good point. “To each his own” right !
@DaveS: maybe Duke Pearson wanted to dress up like santa claus, afterall he recorded an awesome xmas album…who knows what really happened. we have to ask bob cranshaw
@doctorJazz, I was hoping your comments about free jazz would turn into a discussion that I could spy on. For a long time I have been trying to rap my head around how I see jazz history post-bop. I don’t agree that there has been nothing new since free jazz but I have trouble making the arguement. I’m going to try though.
I don’t listen to a lot of free jazz, but I love some music that I would consider inspired by free jazz. I would lump a lot of music into this basket, Early Impulse era Coltrane, late Blue Note Wayne Shorter(JuJu is one of my favorites), Andrew Hill, late 60s/early 70s Tyner, are just a few that I enjoy and would consider to be NOT free jazz but heavily influenced by it. But in my mind there is a lot of Jazz that has transpired since the late 70s that I think of as very original. To start with, Bitches Brew. I think this is pretty original, even though it is heavily influenced by rock and funk of the time. I also consider this jazz, although I know others would take a different stance. I’m not arguing that it’s brilliant(although I think it’s a good record and captures the late 60’s well from what I’m told), on the level of what came before, I’m arguing that it’s original, and jazz. Some other albums that I can think of that are associated with certain post bop movements would be Keith Jarrett’s “Koln Concert” or Pat Metheny. These stray from the Bebop/Hard Bop formula but I don’t think far enough that they are no longer jazz. And I would call them orignal. I enjoy a lot of Acid Jazz type bands, like Greyboy Allstars, Garage a Trois, and Soulive that I think are still Jazz. I would say that some of the current generation of Jazz musicians like Chris Potter, Kurt Rosenwinkel, and Joshua Redman could be considered part of a newer movement in jazz that history has yet to judge.
I am really interested in this discussion as it’s something I’ve thought about before and can’t convince myself of either way.
in front of ya all I declare I’m a sinner,and my sin is I’ve never succeded in appreciate music from mid-70’s to nowadays.I couldn’t find anything new to MY ears that could satisfy brain and guts too.of course couldn’t have listened to everything but went back to 40’s-60’s jazz again and again.
maybe my interest hasn’t been excited enough,maybe I’m not so open as I thought I was.I’ve encountered some good music but nothing that could get me up as bop,cool,hard bop,free and yes,west coast too.
I don’t know why this musical behaviour didn’t happen with classical,which I discovered later.
Can I be considered a moldy fig or a square of Mobleyan memory ?
If Al agrees,and Time allows,I would try a rare free jazz guide.A suggestion to search for $ 1000 and more ,non Blue Note records.
Doctor Jazz, I don’t think you are the only one with that opinion though. I’ve read comments from others on the internet who share the same opinion. I do think Jazz peaked in the late 50s/early 60s. I just think while there rate and magnitude of innovation is no where near what it was, it is still there.
I would love to see a guide, as my forays into Free Jazz are hit and miss(mostly miss).
dottorjazz: it is a weird thing, i agree.I listen to a lot of different music, some of it i adore (james brown, js bach,mike brecker,kanye west, haydn,paul simon etcetc) BUT in the end only jazz, and to be honest only (BN) (hard)bop, goes straight in to my soul, like it is completing me just like family does….hhmmmm?!
The collecting i can explain with various psycholgical reasons, but the likening of bn hardbop not…..
Anyone know a good way to remove old address labels from Blue Note labels? I tried just carefully lifting the stickers in the past on a not so great condition Liberty pressing of 4149 and it did not go so well. Today I scored very nice first pressings of 4017 and 4049 today, at $20 each I couldn’t say no 😉 but the only problem is old address labels on the labels on each side of both records. Any help would be appreciated!
aaron: i always use a lighter.. but it’s tricky.
You MUST NOT let the flame touch the surface, it will become black.But hold it 1 or 2 cm away,.. most of the times the old glue becomes soft…. tricky thing of labels is, they have no lamination..
This could be the beginning of the longest thread on jazzcollector…
AAron and Maarten:
Instead of the lighter, use the lighter fluid. Spread it over the label with your finger, wait 15 min., then use a thin-bladed knife to peel it off and cut the glue.
Maarten,thanks for the link. That’s what I’d call an exhaustive look at the topic of reissue quality. I had to laugh,though,reading the following:
“Real helpful post. Sorry to say this but you are full of it.”
Here’s to the continued decorum shown by we jazzer’s at this site(so far!)lol…
flyin’to Miami,FL,in a few days.
Probably odd question:any shop to visit in the area ?
in february I’ll be back,this time in New Orleans,LA:I’ve read of the new Euclid shop down there.
anyone visited it ?
Since I sometimes share my scores, I’ll share by losses.
Saw an advertisement in Craiglist for 250 Jazz/Blues Records, including Miles, Parker, Sarah V. for $100.
I called the seller at 7pm and he said that he was out at a restaurant eating dinner but that he found these old records in a warehouse he was cleaning out and wanted someone to come and pick them up. We agreed that I would call him in the morning to get the address and details.
I caled him back in the morning and sheepishly he expalined how someone drove out 70 miles each way in the middle of the night to pick up the records at his house.
While it was impossible for me to get to his house that night due to my own conflicts, it is driving me crazy wondering what was in that pile of records.
Can someone please tell me it was a bunch of beat up unplayable OJCs, smelling of smoke, covered in mold and mildew. PLEASE!!!!
DaveS, I’m sure the person selling the records always improperly set up the turntable causing substantial groove wear on top of the mold and dust mites. Also, I bet the boxes had rat poop in them.
Hope that helps
Mike; That IS weird…
I know that some UA pressings are mono and have the original covers, so sometimes i like ‘m more than Liberty for example…
Mayby it was the first re-print of that album???
I’ve never seen a reprint of that album from liberty, and it is a great album(both). But that’s a lot for a non original repress. The King represses are usually around $50 give or take I think.
great version, ithink recorded in Brussels, belgium
(Rudolf, mayby you where there?)
My favourite jazz-messengers morgen and golson, great combination.. http://www.youtube.com/watch?v=JN6vCdmOV-Q&NR=1
Maarten, I heard this group live in De Kurzaal in Scheveningen on Nov. 29th, 1958. I took a very nice picture of Lee Morgan behind the scene.
The group was fantastic indeed and it was a real revelation with the advanced composing and arranging of Benny Golson. The Messengers we knew at that time from available records were the ones from 1956 with Hank and Horace on Blue Nore 1507 and 1508 and the Columbia session issued on Philips B 07.175 L.
The review in the daily “het Vaderland” concludes as follows:
Het succes, dat deze combinatie van talent zaterdagavond oogstte was ongekend. De Kurzaal was totaal uitverkocht en de ovaties van het publiek waren stormachtig.
Do I need to say anything more?
I know it’s a link that has been posted before(somewhere),but for an appreciation of the fine art of jacket design/covers,etc.-and enough rare records to get a sweat going-check out birka jazz here-http://www.birkajazz.com/archive/columbia.htm
Maarten: strange enough your favourite Jazz Messengers unit, with Benny Golson and Lee, was recorded only once in the US (BLP 4003), against four albums in Paris: the French Fontana album recorded at the Olympia, and the French RCA (three volumes) at the Club St Germain, all four in the months November and December 1958.
rudolf:
you’re right, it is the beautifull arrangements by golson.His playing is verry well choosen and subtle
I have the rca records, never heard the ‘olympia’…i’ll go check it out.And Morgan,.. i like him so much…they say he was a nice man to with lots of humor.
Great for you that you saw those men in their prime..
i went to Rollins in het concertgebouw last month, never saw him live, so that part was great….his playing was not perfect , but the band he had with him was really awfull….strange, because bob cransaw was with them(playing electric rock-bass!!!)… BUT i have seen him alive…
“Het Vaderland” talks about standing ovations… I think the public in europe was more enthusiastic as in the US??
Beste wensen Rudolf!
Maarten: the 1958 Blakey Olympia came out here in France in a series “collection Modern Jazz” directed by Marcel Romano with generic covers by M. Laville (only the pictures of the artists changing), catalogue number Fontana 680.202 ML. In Holland same catalogue number, however with different sleeve (grey cover photo of Art playing).
Jij ook heel veel goede wensen, en vooral goede ontdekkingen/aankopen. Rudolf
JazzWax of yesterday has two obituaries:
Jack Tracy (with interesting pictures of the Jazztet) and
Jean-Pierre Leloir, the famous French jazz photographer with some of his most famous sleeve designs (Art Blakey St. Germain; Byrd) and the entry to his website (Maarten enjoy).
Sorry to hear about Leloir-is there anyone he DIDN’T photograph? I know “big ears” refers to a good listener,one who really hears what’s being played. Leloir clearly had those-AND he could capture the moment for posterity. What a gift! I’ll revisit my early Argo’s for Tracy’s liner notes,now with added insight. Re: JazzWax-Marc’s site is the gold standard for informative jazz blogs. A inexhaustible source of information for those who love “the music”.
this one is also a bit curious.Lou Takes Off. But on ONE side it DOES have the trademark ‘R’.. Ithought this one had borh sides no ‘R’??… (This LP has also been seen with the ‘9M’ engraving.)
There have been a number of losses this year in the jazz community,the most recent being James Moody-until now. Ck out the very informative website of the late Billy Taylor for the sad details: http://www.billytaylorjazz.com/index.php
1) What were the cover letting colors on the Blue Train? Yellow or Green?
2) I have learned to tolerate that “Original Pressing” for a BN means anything with a blue and white label pre 1980 reissue.
“First Pressing” on the other hand should be very precise and follow the guidelines we use on this site. If people that are not dealers are ignorant of what that entails (and who can blame them for not being crazy like us), I can forgive them. When dealers or supposed expert sellers toss the term First Pressing out, then, shame on them.
When buying old jazz vinyl, a picture’s worth a thousand dollars!
somewhere in Jazzcollector:
“was also chatting with Larry Cohn about this one earlier in the week and here is what he had to say on this auction:??“BLP 1577 was issued in what we commonly consider the first pressing with the old (leftover in stock) 63rd NEW YORK 23 label on one or the other sides.The 63rd NYC both sides pressings, which commonly circulate, overlap with the first pressings, but are not probably “old” in that they would have been in use, covering several pressings, from 1957 through much of 1959. That is why I consider them 2nd pressings by default.
I did a calculation once based on frequency of occurrence (I have seen hundreds of these records over the years) and determined that RANDOMLY there would have existed in the neighborhood of 5 copies total of 1577 with the old 63rd NEW YORK 23 label on BOTH SIDES”.
rudolph:now we’re breathing no more:please,keep the colours out.
and is the small lettering,I think address on back cover,the same as 1595,somethin’ else ?
at last:I’d pay everything to see you in front of “the perfect 1577” and hear you say:no,thanks…
dottore: awesome, to speak with our friend djukic, five copies only!
I meant small letters on the label for the common “first” 47W63 adress without 23.
Dave for the colours on the sleeve:
my copy has Blue Trane in beige/light brown and Blue Note 1577 in grey. JC in light green.
How is yours?
my 1577 is exactly the same.
label address lettering:all my 47 west (no inc) have the same characters which are smaller than on 23 and 47 west inc.
I’m not as fortunate as you guys. I have one label that is small print, not Inc. but the other side is Inc and little R.
Album colors are the same as Rudolf.
I saw a very sad sight today at the record store.
Duke Pearson’s Merry Ole Soul. Blue and White label Liberty. Saddest part was they made Duke dress up as Santa Claus on the cover. Alfred and Frank never would have humiliated someone like that. I hope Duke took his advance and quit after that.
free jazz question re art ensemble of chicago:chi-congo.mine is a 1972 french Decca,soft cover.
recently I discussed with a reputable seller about first pressing of this one (he had 2 for sale on Paula,1973).He didn’t even know the Decca issue.
does anyone who follows free jazz make light on the first issue ?
and a small note:free jazz doesn’t seem interesting for people in this community.I think it’s a pity ’cause it’s the last original jazz,lived a short season and died 40 years ago.since then nothing new for my ears.
I am following at random those albums that are favourites of mine.
The score of last weekend:
-Rollins Sax Colossus PR: $ 2035
-Rollins JJ Monk Blue Note 1558 with ny23 labels: $ 932
-Paul Gonsalves Boom Jackie Boom Vocalion UK: $ 1219
dottore: agree with your comments on free jazz, nothing new since, but itself also ending in a dead alley, like hard bop, fusion and you name it.
I for one dig Ornette Coleman, Cecil Taylor and some Albert Ayler, but it ends there.
Cannot help on the Chic. Art Ensemble.
…Ceedee, I’ll admit that I too have a copy of Mel prominently mounted on the wall here in my office. Although it is Mel Torme And Friends Live At Martys NYC with that great Hirschfeld sketch, but you make a good point. “To each his own” right !
@DaveS: maybe Duke Pearson wanted to dress up like santa claus, afterall he recorded an awesome xmas album…who knows what really happened. we have to ask bob cranshaw
Chewy: Only way Duke would have wanted to wear that costume is if the girl on the cover of Midnight Creeper got to sit on Santa’s lap.
@doctorJazz, I was hoping your comments about free jazz would turn into a discussion that I could spy on. For a long time I have been trying to rap my head around how I see jazz history post-bop. I don’t agree that there has been nothing new since free jazz but I have trouble making the arguement. I’m going to try though.
I don’t listen to a lot of free jazz, but I love some music that I would consider inspired by free jazz. I would lump a lot of music into this basket, Early Impulse era Coltrane, late Blue Note Wayne Shorter(JuJu is one of my favorites), Andrew Hill, late 60s/early 70s Tyner, are just a few that I enjoy and would consider to be NOT free jazz but heavily influenced by it. But in my mind there is a lot of Jazz that has transpired since the late 70s that I think of as very original. To start with, Bitches Brew. I think this is pretty original, even though it is heavily influenced by rock and funk of the time. I also consider this jazz, although I know others would take a different stance. I’m not arguing that it’s brilliant(although I think it’s a good record and captures the late 60’s well from what I’m told), on the level of what came before, I’m arguing that it’s original, and jazz. Some other albums that I can think of that are associated with certain post bop movements would be Keith Jarrett’s “Koln Concert” or Pat Metheny. These stray from the Bebop/Hard Bop formula but I don’t think far enough that they are no longer jazz. And I would call them orignal. I enjoy a lot of Acid Jazz type bands, like Greyboy Allstars, Garage a Trois, and Soulive that I think are still Jazz. I would say that some of the current generation of Jazz musicians like Chris Potter, Kurt Rosenwinkel, and Joshua Redman could be considered part of a newer movement in jazz that history has yet to judge.
I am really interested in this discussion as it’s something I’ve thought about before and can’t convince myself of either way.
in front of ya all I declare I’m a sinner,and my sin is I’ve never succeded in appreciate music from mid-70’s to nowadays.I couldn’t find anything new to MY ears that could satisfy brain and guts too.of course couldn’t have listened to everything but went back to 40’s-60’s jazz again and again.
maybe my interest hasn’t been excited enough,maybe I’m not so open as I thought I was.I’ve encountered some good music but nothing that could get me up as bop,cool,hard bop,free and yes,west coast too.
I don’t know why this musical behaviour didn’t happen with classical,which I discovered later.
Can I be considered a moldy fig or a square of Mobleyan memory ?
If Al agrees,and Time allows,I would try a rare free jazz guide.A suggestion to search for $ 1000 and more ,non Blue Note records.
Doctor Jazz, I don’t think you are the only one with that opinion though. I’ve read comments from others on the internet who share the same opinion. I do think Jazz peaked in the late 50s/early 60s. I just think while there rate and magnitude of innovation is no where near what it was, it is still there.
I would love to see a guide, as my forays into Free Jazz are hit and miss(mostly miss).
dottorjazz: it is a weird thing, i agree.I listen to a lot of different music, some of it i adore (james brown, js bach,mike brecker,kanye west, haydn,paul simon etcetc) BUT in the end only jazz, and to be honest only (BN) (hard)bop, goes straight in to my soul, like it is completing me just like family does….hhmmmm?!
The collecting i can explain with various psycholgical reasons, but the likening of bn hardbop not…..
Anyone know a good way to remove old address labels from Blue Note labels? I tried just carefully lifting the stickers in the past on a not so great condition Liberty pressing of 4149 and it did not go so well. Today I scored very nice first pressings of 4017 and 4049 today, at $20 each I couldn’t say no 😉 but the only problem is old address labels on the labels on each side of both records. Any help would be appreciated!
aaron: i always use a lighter.. but it’s tricky.
You MUST NOT let the flame touch the surface, it will become black.But hold it 1 or 2 cm away,.. most of the times the old glue becomes soft…. tricky thing of labels is, they have no lamination..
This could be the beginning of the longest thread on jazzcollector…
AAron and Maarten:
Instead of the lighter, use the lighter fluid. Spread it over the label with your finger, wait 15 min., then use a thin-bladed knife to peel it off and cut the glue.
There’s something in the States called Goo Gone. It works a bit better than lighter fluid and is not abrasive . It’s good for labels and covers.
Hi Bill,
thanks for the tip. You can find the Goo gone product on Ebay .
I already bought a bottle .
…friendly suggestion: watch the shipping cost
thanks
Be careful with the Goo Gone. I workks but is pretty slick/slimy. If it gets on your record at all, it is very hard to remove.
i came across an old thread on new vinyl(classic records),against japanese or liberty, etc.
for those who are interested:
http://www.pinkfishmedia.net/forum/archive/index.php/t-13558.html
Maarten,thanks for the link. That’s what I’d call an exhaustive look at the topic of reissue quality. I had to laugh,though,reading the following:
“Real helpful post. Sorry to say this but you are full of it.”
Here’s to the continued decorum shown by we jazzer’s at this site(so far!)lol…
i already have these, but for those who haven’t: A new seller though, but some nice priced blue note’s if it is true about the NM andM gradings:
http://shop.ebay.com/interiorsbd/m.html#item2a0c9781dc
flyin’to Miami,FL,in a few days.
Probably odd question:any shop to visit in the area ?
in february I’ll be back,this time in New Orleans,LA:I’ve read of the new Euclid shop down there.
anyone visited it ?
The One That Got Away!!!
Since I sometimes share my scores, I’ll share by losses.
Saw an advertisement in Craiglist for 250 Jazz/Blues Records, including Miles, Parker, Sarah V. for $100.
I called the seller at 7pm and he said that he was out at a restaurant eating dinner but that he found these old records in a warehouse he was cleaning out and wanted someone to come and pick them up. We agreed that I would call him in the morning to get the address and details.
I caled him back in the morning and sheepishly he expalined how someone drove out 70 miles each way in the middle of the night to pick up the records at his house.
While it was impossible for me to get to his house that night due to my own conflicts, it is driving me crazy wondering what was in that pile of records.
Can someone please tell me it was a bunch of beat up unplayable OJCs, smelling of smoke, covered in mold and mildew. PLEASE!!!!
DaveS, I’m sure the person selling the records always improperly set up the turntable causing substantial groove wear on top of the mold and dust mites. Also, I bet the boxes had rat poop in them.
Hope that helps
Did anybody see these two auctions?
That’s a lot for UA pressings.
and the 1515
Sorry forgot the link
Well it’s not letting me post html links anymore for some reason but this is the other one
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&rt=nc&nma=true&item=390271690656&si=hThGZxlGREWW17F%252Fpibx1xklD8k%253D&viewitem=&sspagename=STRK%3AMEWAX%3AIT
$444. Sorry for littering up the comments.
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&rt=nc&nma=true&item=390271691192&si=hThGZxlGREWW17F%252Fpibx1xklD8k%253D&viewitem=&sspagename=STRK%3AMEWAX%3AIT
Mike; That IS weird…
I know that some UA pressings are mono and have the original covers, so sometimes i like ‘m more than Liberty for example…
Mayby it was the first re-print of that album???
I’ve never seen a reprint of that album from liberty, and it is a great album(both). But that’s a lot for a non original repress. The King represses are usually around $50 give or take I think.
great version, ithink recorded in Brussels, belgium
(Rudolf, mayby you where there?)
My favourite jazz-messengers morgen and golson, great combination..
http://www.youtube.com/watch?v=JN6vCdmOV-Q&NR=1
Maarten, I heard this group live in De Kurzaal in Scheveningen on Nov. 29th, 1958. I took a very nice picture of Lee Morgan behind the scene.
The group was fantastic indeed and it was a real revelation with the advanced composing and arranging of Benny Golson. The Messengers we knew at that time from available records were the ones from 1956 with Hank and Horace on Blue Nore 1507 and 1508 and the Columbia session issued on Philips B 07.175 L.
The review in the daily “het Vaderland” concludes as follows:
Het succes, dat deze combinatie van talent zaterdagavond oogstte was ongekend. De Kurzaal was totaal uitverkocht en de ovaties van het publiek waren stormachtig.
Do I need to say anything more?
I know it’s a link that has been posted before(somewhere),but for an appreciation of the fine art of jacket design/covers,etc.-and enough rare records to get a sweat going-check out birka jazz here-http://www.birkajazz.com/archive/columbia.htm
Maarten: strange enough your favourite Jazz Messengers unit, with Benny Golson and Lee, was recorded only once in the US (BLP 4003), against four albums in Paris: the French Fontana album recorded at the Olympia, and the French RCA (three volumes) at the Club St Germain, all four in the months November and December 1958.
rudolf:
you’re right, it is the beautifull arrangements by golson.His playing is verry well choosen and subtle
I have the rca records, never heard the ‘olympia’…i’ll go check it out.And Morgan,.. i like him so much…they say he was a nice man to with lots of humor.
Great for you that you saw those men in their prime..
i went to Rollins in het concertgebouw last month, never saw him live, so that part was great….his playing was not perfect , but the band he had with him was really awfull….strange, because bob cransaw was with them(playing electric rock-bass!!!)… BUT i have seen him alive…
“Het Vaderland” talks about standing ovations… I think the public in europe was more enthusiastic as in the US??
Beste wensen Rudolf!
ceedee: every day a couple of beautifull jackets/covers …it should be mandatory!
Maarten: the 1958 Blakey Olympia came out here in France in a series “collection Modern Jazz” directed by Marcel Romano with generic covers by M. Laville (only the pictures of the artists changing), catalogue number Fontana 680.202 ML. In Holland same catalogue number, however with different sleeve (grey cover photo of Art playing).
Jij ook heel veel goede wensen, en vooral goede ontdekkingen/aankopen. Rudolf
JazzWax of yesterday has two obituaries:
Jack Tracy (with interesting pictures of the Jazztet) and
Jean-Pierre Leloir, the famous French jazz photographer with some of his most famous sleeve designs (Art Blakey St. Germain; Byrd) and the entry to his website (Maarten enjoy).
Sorry to hear about Leloir-is there anyone he DIDN’T photograph? I know “big ears” refers to a good listener,one who really hears what’s being played. Leloir clearly had those-AND he could capture the moment for posterity. What a gift! I’ll revisit my early Argo’s for Tracy’s liner notes,now with added insight. Re: JazzWax-Marc’s site is the gold standard for informative jazz blogs. A inexhaustible source of information for those who love “the music”.
here is another BN that has the”9M” engraved…. does anyone allready knows what that is about?
http://cgi.ebay.com/Sonny-Clark-Sonnys-Crib-Blue-Note-1576-Original-Mono-/110627941505?pt=Music_on_Vinyl&hash=item19c1f06c81#ht_563wt_907
this one is also a bit curious.Lou Takes Off. But on ONE side it DOES have the trademark ‘R’.. Ithought this one had borh sides no ‘R’??… (This LP has also been seen with the ‘9M’ engraving.)
http://cgi.ebay.com/LOU-DONALDSON-LOU-TAKES-OFF-BLUE-NOTE-1591-/200559592693?pt=Music_on_Vinyl&hash=item2eb24884f5#ht_1327wt_1141
There have been a number of losses this year in the jazz community,the most recent being James Moody-until now. Ck out the very informative website of the late Billy Taylor for the sad details:
http://www.billytaylorjazz.com/index.php
Just a quick note to let you know that Fred’s new Blue Note book is now for sale at the Jazz Record Center. Hooray.
Bill: that is great news. Do you have the title to??