Had a listen on YouTube. Some tracks are fine. Thanks.
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Well,
It should be, especially at the end of lockdown no.3… 
And why reglacted the first ones? 
Why ignoring the first ones?
Why not? Because it’s jazz and I love jazz I am supposed to enjoy all jazz albums?
Here my favourite Sonny Rollins:
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I have the earlier Bill Evan’s albums New Conceptions, Everybody Digs, Portrait, Exolorations etc
But doing a bit of searching of the Bill Evan’s discography came across these, on Tidal
Not actually listened yet, but might be of interest.
AllMusic Review by Ken Dryden
Tony Scott led several small groups of various sizes during the month of November 1957, resulting in three separate LPs being issued by Seeco, Carlton, and Perfect without duplicating any of the 24 tracks. This Fresh Sound two-CD set collects everything recorded during these sessions. Scott’s core group features pianist Bill Evans (not long after he was discharged from military service), either Milt Hinton or Henry Grimes on bass, and drummer Paul Motian. In addition to his powerful clarinet, Scott plays a potent baritone sax on six selections. The music includes a few standards, a handful of originals by Scott, and some obscure compositions. Trombonist Jimmy Knepper is a guest on several songs, providing a perfect foil for the leader in a snappy take of “The Lady Is a Tramp,” with the soloing on clarinet and baritone saxophonist Sahib Shihab following Knepper. Trumpeter Clark Terry (still with Duke Ellington at the time) blows a very soft solo in a subdued arrangement of “Tenderly.” Even though Evans was yet to make his mark as a leader or composer, his “Five” is heard in extended form rather than as a brief signoff as he played on early recording dates of his own. He also solos brilliantly in “There Will Never Be Another You.” The title to this collection is a bit misleading, as trustworthy discographies list these sessions as being recorded over several days. Because obtaining each of the originally issued LPs is likely to be very expensive for collectors, this comprehensive CD set is the better alternative.
There is quite a few other Tony Scott with Bill Evan’s titles available as well, dont know if there different recordings or variations of the above.
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Tony Scott & Bill Evans A Day in New York streaming on Qobuz via Roon. Take your pick of versions:
- Fresh Sounds Records (referred to in the AllMusic Review)
- Jazz Door
- Doxy Records
- Resurfaced Records
Thanks to @Dreadatthecontrols for posting.
Dave
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Doxy records I believe are Public Domain. Dont know about Jazz Door or Resurfaced.
There are several differently titled Tony Scott/Bill Evan’s albums on Tidal, some seem to have different tracks (The Complete Tony Scott/Bill Evans Quartet Recordings) but I doubt they recorded that much material for so many albums. I suspect a lot are anomalous public domain issues.
The only references I can find are for A Day In New York and the original vinyl issue of that material on Discogs.
This one…
One with the George Russell Orchestra
And one with Bob Brookmeyer, Percy Heath and Connie Kay which looks worth further investigation
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re: Sonny Rollins - Nucleus
AllMusic Review by Scott Yanow
It has long been a disappointment to many longtime followers that Rollins’s recordings of the 1970s and '80s were generally not at the same level as his earlier sessions. Nucleus is a case in point. This funky date (which also includes trombonist Raul DeSouza, Bennie Maupin on reeds and keyboardist George Duke) has its moments (including an updated version of “My Reverie”) but falls far short of hinting at any new innovations.
I’ll give that one a miss then.
Not sure I can take too much of the “bag pipes” on The Cutting Edge album.
Sorry
Dave
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On Tidal
"Tune?..this is JAZZ!
Classic sucking session from The Jazz Club archive.
Miles Davis, Bitches Brew. 2015 vinyl reissue.
I’ve been waiting for a good vinyl pressing of Bitches Brew at reasonable cost and I was surprised when one suddenly appeared at the river. I was even more surprised that Ms. ClaudeP liked it at first listen, and that she asked me to play the 2nd LP immediately.
Claude
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For most jazz reviewers, all jazz with electric instruments is not at the level of before. It’s the classic point of view unfortunately. I am used to.
I you read some reviews on Miles Davis, his 70’s albums are not interesting for a lot of reviewers. No need to create a dichotomy, it’s already there.
You are only listening to albums that received good reviews ?
If you are referring to Sonny Rollins have you heard any of his earlier albums, e.g. At the Village Vanguard, Newks Time, Saxophone Colossus?
I will admit to trying to sort the wheat from the chaff. 
Re: Miles; we know when he went electric he lost a lot of fans but gained a new “younger” audience. Whether you like the direction he took is of course is down to personal choice.
Dave
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I am not listening to jazz from the 60’s or 50’s, in general. I have explained that it’s not my cup of tea.
You can find it strange, but it’s the case.
For Miles Davis, I specially love his electric period, from 1969 to 1975 and 1981 to 1985. After, I find the albums too commercial.
I listened again quickly the Nuckeus album, and agree that it’s average. An error of my memory. The first one is really good.( the cutting edge).
Continuing my exploration of Bill Evan’s early recordings prior to leading his own sessions.
1959 joint billing with Bob Brookmeyer, unusually playing the Joanna, along with Percy Heath & Connie Kay.
Enjoying this one a lot
On Tidal
AllMusic Review by Michael G. Nastos
When Bill Evans agreed to do a two piano date with Bob Brookmeyer, eyebrows surely must have raised. Pairing a rising superstar of modern jazz with a gentleman known for playing valve trombone and arranging charts might have been deemed by some as a daunting task. Fortunately for the keyboardists, this was a good idea and a marvelous concept, where the two could use the concept of counterpoint and improvisation to an enjoyable means, much like a great chess match. For the listener, you are easily able to hear the difference between ostensible leader Evans in the right channel of the stereo separation, and the accompanist Brookmeyer in the left. The opener “Honeysuckle Rose” gives a basic idea of what to expect, as Evans leads out, Brookmeyer counters his moves, and they trade riffs in an inventive bridge. “The Way You Look Tonight” is similar as Brookmeyer is more playful in his chiming chords and second melody line. The energy level is very good here, as well as on the democratic, funky contemporary intro to the easy swing of “It Could Happen to You” and “I Got Rhythm,” jam-packed with fun plus risk-taking. There’s a different give and take during “The Man I Love,” and they turn the lamp down low on a delicate version of “As Time Goes By” as the pianists trade leads, and bassist Percy Heath adopts a more pronounced role. It is Heath and drummer Connie Kay, on loan from the Modern Jazz Quartet, who precisely and firmly cement rhythmic elements, allowing the pianists to use space, harmony, wit and wisdom to full effect. Some have called this an effort based more on gimmick and showmanship, but if you agree to listen closely, the depth and substance of Evans and Brookmeyer reveals a lot of soul, invention, and musicians simply having a real good time. It would be nice to hear any alternate takes from this marvelous date.
Bill Evans and Bob Brookmeyer: The Ivory Hunters album review @ All About Jazz
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Does anyone know what’s happened to @Bobthebuilder? He used to contribute regularly to this thread, yet now I’m unable to find any of his posts.
Perhaps he’s busy building something
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