Jazz for aficionados

@curiousjim 

Can't help with streaming but the CD is available here:

https://www.discogs.com/sell/list?master_id=359944&ev=mb&ships_from=United+States&format=CD

@pjw81563

I for one like the way they sound and you can get a ton of RVG remasters from a ton of musicians.

Well; many on CD are no longer in print, so grab ’em up while you can!

Still, they’re easier to find in many cases than the Ron McMaster versions. I  personally wouldn’t avoid buying any of the RVG’s because of sound, but then, my system is somewhat on the warm side. 

@curiousjim

Stitt was quite prolific; here’s another one I like:

https://www.youtube.com/watch?v=GuEV0iq9g3E

Some documentary are EARS opener about a giant...

Another proof if necessary that music is less about our tastes than about discovery...

Thanks to frogman who spoke about him here long ago...

Rahsaan Roland Kirk

https://www.youtube.com/watch?v=URS-P9Zt8IU

Kirk awake the same amazement in me than Sun Ra ...

Incredible power going way over music entertainment... More like real magician here to transform the world......

His coming back to playing after a stroke which  let him half paralysed remind me of the miraculous coming back of Pat Martino...

It is also frogman who let me behind Martino guitar magic works ..

One of my best loved Jazz album ever is from Martino...I listen it hundred times... 😊

As all of you know I have been reading the new Sonny Rollins biography. I just started Chapter 25 titled Sonny Meets Hawk. On page 402 (yes I am a slow reader) I read something that really disturbed me.

I have been wanting to share so much of this book here on JFA while reading but decided not to because it would spoil the experience for any others who want to read it.

However, I just wanted to share a small paragraph on page 402 and after reading it you will see why I am so upset over it. Here it is:

At this time, Alfred Lion of Blue Note offered Sonny Simmons a contract, but he turned it down after "I sat down in a chair in his office and he threw four bags of ’Dirty Harry’ on his desk (heroin)" 91

note 91:

 

Lester Koenig, who produced The Cry, connected Simmons with Alfred Lion at Blue Note. Simmons, interview with the author. “That’s what he was payin’ the brothers, man. He wouldn’t pay ’em no money, ’cause they was all stretched out. It was sad. Broke my heart. I said, ‘No, man.’ I said, ‘I don’t use.’ He couldn’t believe me. He got pissed off. ‘You should take it and I’ll record ya.’ I said, ‘No, man. I don’t use.’ And Francis Wolff heard my voice raised up at Alfred’s, ’cause it pissed me off. I said, ‘Man, I want money. I don’t want no dope.’ ” Simmons “left in a big huff—big cloud of fire and brimstone was over the top of my head. And I never did go back no more.” Lester Koenig convinced Lion and Wolff to pay Simmons an advance in hard currency rather than drugs, but to Simmons, the deal was tainted, and he turned it down.

It goes without saying that Alfred Lion, a man I had respected as one of the greats of bringing American Jazz to millions of listeners, was just another business man trying to take advantage of artists (yes I know most all recording companies and their owners/employees are guilty of this).

For some reason I always thought of Alfred Lion and Francis Wolff as a duo that had integrity but now I know otherwise....