Let’s hope that Wiki and all the American newspaper stories are wrong then.
No sadly.
It is confirmed in the Guardian. I can’t say I understood all his music, especially with JC, but his work with Alice Coltrane was often heavenly. May he rest in peace.
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Now being widely reported I see.
My Wikipage has now been updated so it must be true. 
RIP
Dave
Karma came out when I was a teenager and set me on a path of spiritual jazz I still follow.
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I did try once again to enjoy Pharoah’s music but it’s not for me so I sought refuge in the Pablo catalogue.
Telling us what a splendid influential and unique keyboard player Bill was. We have some of his Blackpool Tower Ballroom (youngsters can Google) organ as well. Classic support from Ray Brown. Belson always seems out of his depth in these situations. Big band was his forte…his drumming with Duke was Rich.
There is a second volume if you are as excited by this cd as I am.
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just discovered these smoth jazz gem sound very nice.
Have you tried Tauhid, its not as out there as some of his later stuff
Ella And Louis Again (Acoustic Sounds/Verve 2LP)
First spin of the new Acoustic Sounds Series follow up to Ella And Louis, I really enjoyed that and this is equally superb.
Only ever owned these on quite good sounding beer mats so really happy to have these lovely AAA mastered vinyl re issues
Great Sunday Afternoon listening
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I will seek and sample. Hopefully it will provide a gateway to fulfilment.
By best man and hippy zen brother from before we discovered girls idolised him
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Many moons ago I use to own the original For The First Time vinyl.
For The Second Time is a new one to me.
Thanks for recommendation.
Dave
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Richard Beirach
Eon
Richard Beirach piano
Frank Tusa bass
Jeff Williams drums
Recorded November 1974 at Generation Sound Studios, New York
Engineer: Tony May
Produced by Manfred Eicher
Eon was the first album under the New York-born Richard Beirach’s name, and arguably still his best. Its balance of rhythm, melody, and reflection epitomizes the piano trio format, and nowhere more so than “Nardis” (Davis/Evans), the 14-minute epic that opens this set of six progressively far-reaching tunes. ECM listeners may recognize its lovely vamp as performed by Ralph Towner on his unparalleled Solo Concert of 1979. Here, it glows under a full and vibrant touch. Beirach keeps his fingers busily engaged, while allowing his rhythm section some glorious airtime, winding down like a rock band extending power chords, only here in a more intimate space in which that prolonging becomes not a dramatic farewell but the acceptance of a new beginning. “Places” (Dave Liebman) is an effervescent piano solo with all the romanticism one might expect from such a consummate musician. It also gives us a preview of his solo album Hubris, which would be soon to come. “Seeing You” (Tusa/Beirach) continues in much the same vein, but reintroduces the smooth glide of brushed drums and bass. A subtle rhythmic acuity and free and easy interplay suspend the listener in a swaying hammock of nostalgia. Block chords burrow through the title track with a hint of dissonance before flowering in calmer pastures. Fair, extended performances make this the culmination of the album’s surrounding gestures. Sentiments build into ecstasy before a final sprinkling from piano and cymbals is flicked into darkness like water from glittering fingertips. “Bones” at last puts more sticks to skin as Beirach recedes for tearful bass solo, hitting the occasional accent to keep us chordally ground. “Mitsuku” closes us out in style with a gratifying promise.
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First spin of this…
Big Joe Turner - The Boss Of The Blues Sings Kansas City Jazz (Pure Pleasure/Atlantic)
Lovely AAA mastering of this Classic 1956 recording
Besides helping to invent rock ‘n roll with his hit “Shake, Rattle and Roll,” Big Joe Turner was one of the most soulful blues shouters of all time. His best albums married the boogie-woogie piano stylings of the great Pete Johnson with a jazzy jumpin’ horn section. Boss Of The Blues is arguably Joe’s best recording, in part because he sang with particular gusto during these 1956 sessions.
At the time, Boss of the Blues marked a nostalgic return to the jump-blues style that Turner helped pioneer in the '40s. Besides Johnson, Boss featured some of Kansas City’s finest ever jazzmen and various members of Count Basie’s band, including Joe Newman (trumpet), Pete Brown (alto sax), Lawrence Brown (trombone), Frank Wess (tenor sax) and Freddie Green (guitar). The bawdy “Cherry Red” and the rollicking “Roll 'Em Pete” are my favorite Turner-Johnson collaborations.
Both feature some incredible playing by the piano master. Turner’s versions of “I Want a Little Girl,” “Low Down Dog,” “You’re Driving Me Crazy,” and “Morning Glories” are definitive. If I had to compile a list of my 10 favorite albums, Boss of the Blues would be there. Ed Kopp/All About Jazz.
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Binker Golding - Dream Like A Dogwood Wild Boy (Gearbox)
First listen to Binker’s most recent offering and totally unexpected, with the opening steel slide guitar I thought I’d accidentally pressed play on the wrong record
Dream like a Dogwood Wild Boy Review
by Thom Jurek
Saxophonist/bandleader Binker Golding has been on the U.K. jazz scene since 2010 and has made an indelible mark. He began his recording career with Zara MacFarlane’s band where he met future musical partner, drummer Moses Boyd. As Binker & Moses they’ve released five albums ranging from free jazz improv to funky hard bop and R&B-inflected grooves. Golding has also issued freely improvised dates with Elliot Galvin and noted vanguardists Steve Noble and John Edwards. He also issued 2019’s fine, straight-ahead Abstractions of Reality Past and Incredible Feathers. All that said, however, doesn’t prepare the listener for the abundant musicality on Dream Like a Dogwood Wild Boy.
Golding leads a quintet here that features his longtime rhythm section of drummer Sam Jones and bassist Daniel Casimir, first-call session guitarist Billy Adamson, and London piano wizard Sarah Tandy, whose 2019 debut, Infection in the Sentence, sent jazz critics reeling with praise. Golding’s approach is a formally composed seven-track set that crisscrosses hard bop, blues, Americana, heartland rock, soul-jazz, and more. His tone through most of the tunes here reflects the twin influences of Sonny Rollins and Eddie Harris. Golding is a dexterous musician who is more interested in conveying emotion than chops; he enlisted Hugh Padgham to underscore his M.O. with a crystalline mix.
Opener “Wide Open Lows” is introduced with Adamson’s bottleneck slide on a steel-bodied guitar. His blues ring true before the band joins in for a wide-open euphoric Americana progression that owes a bit to the approach of Pat Metheny circa 80/81. Guitar, bass, and piano entwine through an intricate yet resonant melody before Golding and Tandy deliver fine solos. “Love Me Like a Woman” is a collision of deep soul tenor and biting, electric blue guitar. “My Two Dads” offers a catchy intricate melody amid rolling tom-toms, a gospelized piano that nods to Joe Sample of the Jazz Crusaders, and fingerpicked electric guitars. “Howling and Drinking in God’s Own Country” initially weds a hard bop tenor to slide guitar blues atop a second-line New Orleans R&B rhythm. Casimir shifts the dynamic to embrace Tandy’s driving, knotty, fingerpopping hard bop solo before Golding answers with a scorcher of his own. “'Til My Heart Stops” is a wrenching, deeply melodic, tender soul ballad underscored by lush group interplay. “With What I Know Know” weds the front-line instruments in a deftly threaded head balancing post-bop and pop. Golding’s tone recalls Michael Brecker’s warm, refined, big-boned sound. Closer “All Out of Fairy Tales” is a rock-tinged, gospel-inflected ballad whose hummable lyric is amplified by Tandy’s deeply moving solo. Dream Like a Dogwood Wild Boy is Golding’s finest effort to date. It showcases beautifully written tunes played by a stellar simpatico band. At once accessible and evocative, it establishes Golding on the global jazz scene as an intuitive democratic bandleader, sophisticated composer, and imaginative soloist.
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I found that on Qobuz. I must have owned it once as I know all the solos off by heart. But I have lived in all their heads for so long perhaps it is no surprise.
Pete Brown was a fine jump alto player. Lovely solid piano work… not a tinkle in site.
The sound on Qobuz is not very satisfactory it is very ‘fizzy’
I shall try the un refreshed edition. No they all sound a bit shabby.
YouTube has a jazz 625 concert with Joe and Humphrey’s band. Well worth a visit.
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Thats a shame maybe a poor remaster, the original master sounds superb.