Oh, and while I’m posting about the Blue Note Tone Poet series vinyl reissues, the Wayne Shorter Etcetera is FAB!
Yes, my copies of Takin’ Off, and Doin’ Alright are both okay too, dead flat vinyl, and the SQ is superb, particularly Gordon Dexter’s tenor sax that sounds like he’s in the room, and drums with some close recorded punchy realism 
The Robert Canvas set i have also has a very nice sound, a more modern recording, but unfortunately my copy has some warp issue so going back for the refund.
Going by the cost of a new cartridge i feel defensive and wary watching my Kandid bobbing up and down when the surf’s up!
Re: Tone Poet reissues: wish i could afford to buy them all 
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Surprisingly that Ben Sidran is rarely mentioned in this forum, I think his music is wonderfully bluesy jazzy, and he is one of my few favourite jazz artists.
Here are a few of his best albums IMO:
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Bug Music is a tribute to the music of the Raymond Scott Quintette, the John Kirby Sextet and Duke Ellington, headed by the remarkably versatile clarinetist Don Byron. Raymond Scott’s legendary compositions feature eccentric song titles (including, on this set, “Siberian Sleighride,” “Tobacco Auctioneer” and “War Dance for Wooden Indians”), complex and thoroughly composed arrangements (all of which were originally memorized rather than being written out) and unique melodies. Kirby’s brand of swing, which is quite complementary to Scott’s novelties, often utilized themes from classical music and had solos, but were also tightly arranged (even “St. Louis Blues” and “Royal Garden Blues”). The CD begins and ends with four Ellington/Strayhorn pieces that fit well into the idiom (particularly “The Dicty Glide” and “Cotton Club Stomp”). In addition to Byron, the key players on the project include altoist Steve Wilson (one of the best of the younger swing stylists), trombonist Craig Harris and pianist Uri Caine, in addition to four other horns and several rhythm sections. Other than a silly rendition of Ellington’s “Blue Bubbles” and an adventurous interpretation of “Snibor,” the selections are played with respect and great understanding of the somewhat forgotten style. None of the modern musicians sound as if swing were only their second language, making the continually surprising set a major success. ~ Scott Yanow
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AllMusic Review by Steve Huey
The Black Saint and the Sinner Lady is one of the greatest achievements in orchestration by any composer in jazz history. Charles Mingus consciously designed the six-part ballet as his magnum opus, and – implied in his famous inclusion of liner notes by his psychologist – it’s as much an examination of his own tortured psyche as it is a conceptual piece about love and struggle. It veers between so many emotions that it defies easy encapsulation; for that matter, it can be difficult just to assimilate in the first place. Yet the work soon reveals itself as a masterpiece of rich, multi-layered texture and swirling tonal colors, manipulated with a painter’s attention to detail. There are a few stylistic reference points – Ellington, the contemporary avant-garde, several flamenco guitar breaks – but the totality is quite unlike what came before it. Mingus relies heavily on the timbral contrasts between expressively vocal-like muted brass, a rumbling mass of low voices (including tuba and baritone sax), and achingly lyrical upper woodwinds, highlighted by altoist Charlie Mariano. Within that framework, Mingus plays shifting rhythms, moaning dissonances, and multiple lines off one another in the most complex, interlaced fashion he’d ever attempted. Mingus was sometimes pigeonholed as a firebrand, but the personal exorcism of Black Saint deserves the reputation – one needn’t be able to follow the story line to hear the suffering, mourning, frustration, and caged fury pouring out of the music. The 11-piece group rehearsed the original score during a Village Vanguard engagement, where Mingus allowed the players to mold the music further; in the studio, however, his exacting perfectionism made The Black Saint and the Sinner Lady the first jazz album to rely on overdubbing technology. The result is one of the high-water marks for avant-garde jazz in the ‘60s and arguably Mingus’ most brilliant moment.
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I’m spinning the Blue Note 80 vinyl issue of Robert Glasper’s Canvas. I was a bit nervous after reading about warps and dished lps, but I’m pleased to report that the first LP of this one is pretty much perfect - centred, flat, an immaculate pressing. Sounds really good too. I hope LP2 is as good…
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A previously unreleased Miles Davis album called Rubberband will see light later this year.
The origins of Rubberband date back to the mid-1980s following Davis’ departure from Columbia Records. In October of 1985, he entered Los Angeles’ Ameraycan Studios with producers Randy Hall and Zane Giles. As a press release notes, “the musical direction Davis was taking during the sessions marked a radical departure, with the inclusion of funk and soul grooves [and] with plans to feature guest vocalists Al Jarreau and Chaka Khan.” Eventually, the album was shelved and Davis went on to record Tutu , which was released in 1986.
Now, after 30 years, Rhino Records is set to give Rubberband its own proper release. The album was recently completed by original producers Hall and Giles along with Davis’ nephew, Vince Wilburn, Jr., who played drums on the original sessions for the album in 1985-86. Additional contributors included Ledisi and Lalah Hathaway.
Rubberband was previewed earlier this year via a four-song EP released for Record Store Day. The full 11-song set will be available digitally, on CD, and as a double vinyl beginning September 6th.
In anticipation, take a listen to the opening track, “Rubberband of Life”, and a few different variations below. Also, check out the album’s artwork, which is an original painting by Davis.
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JAZZ RE:FEST
Sat 27 Jul, 12pm – 8pm
Brighton Dome Concert Hall
JAZZ RE:FEST is a family-friendly, annual one-day festival produced by music and arts organisation jazz re:freshed . Now in its seventh year (and second year at Brighton Dome), the festival returns, giving a platform to some of the dopest live music around and showcasing emerging talent. In addition to the live bands, there will be a selection of DJs playing music that connects the dots between jazz and other genres.
Line up: Theon Cross // Zara McFarlane // Rosie Turton // Kevin Haynes Grupo Elegua // Sarah Tandy // Werkha // Camilla George
All this for just a tenner! You know it makes sense!
A new Miles Davis album is due in September, and will be a new release.
Rubberband - is comprised of recordings made in the 1980s.
Pre-ordered price on Amazon is currently £22.99 for a double vinyl album.
It maybe too rock inspired for some dedicated jazz music fans (?) and my cynical minds says; lost recordings found down the back of the sofa, so another brand new posthumous album they can make a quick buck on… but then again there just maybe some really good fusion jazz-rock we ain’t been given the chance to dig yet, and apparently these ‘unheard’ tapes and recordings have been stored in the vaults of Warner Bros for the past three decades.
Rhino released an EP version last year, which gives us some idea of what to expect.
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“Recorded at Oslo’s iconic Rainbow Studio with engineer Jan Erik Kongshaug, A Dove, A Lion, A Coast, A Pirate features works by both Howard and bassist Jonathan Zion.
This album works on all levels, the enthusiast will love the sheer musicality and invention whilst the casual listener will fall for the simple beauty of this music. This is an album that not only can withstand repeated listens, but calls the listener back again and again. – Michael Prescott, Jazzwise Magazin”
CD Rip. Well recorded, as you would expect. DR 12
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A classic.
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I can’t get enough of all three Zara McFarlaine albums
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Is it already out, I checked it on Bandcamp, Qobuz etc, but couldn’t find it…
Bought it at the river
What is the river ? Most probably a stupid question…
Sorry: amazon. Unfortunately not cheap…
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She’s on the bill for Jazz Refest, see above
Well written, thanks for the insides on the whole process, very interesting and much appreciated.
I agree completely except that my favorite Mingus album remains Ah Um, but’’ Sinner Lady’’ is one the great achievements in the history of music.
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