Every dark cloud has a silver lining. There are several consolations for jazz fans disappointed by the postponement until June of Jamie Cullum's Hong Kong performance, originally scheduled for tonight. The greatest of these is a change of venue. Instead of taking place in the acoustic nightmare that is the Hong Kong Convention and Exhibition Centre (HKCEC), the Cullum gig will now be at AsiaWorld-Expo at Chek Lap Kok on June 6. The auditorium is, admittedly, not exactly downtown. Neither can I vouch for the acoustics or ambience. But they can scarcely be worse than those at the HKCEC, and since it's likely that much of the crowd will also have attended the shows in that cavernous space by Norah Jones and Diana Krall, we'll all have a useful opportunity to compare. The new arrangement also removes a barrier to full enjoyment of the liquid aspects of the Rugby Sevens for those with tickets to both. They'll now be able to enter wholeheartedly into the spirit of the finals. In any case, this is a good week for local club gigs. At the Blue Door in Central, Elaine Liu is the featured vocalist on Friday, and is always worth hearing. On Saturday, Allen Youngblood presents a programme of his own compositions, with guest saxophonist Blaine Whitaker paying a welcome return visit. This performance will focus on Youngblood's 1960s Blue Note-influenced compositions, featuring a three-piece horn section, along with Larry Hammond on drums and Paul Candelaria on bass. It's unfortunate that the Youngblood gig clashes with another meeting of musical minds down the hill at Grappa's Country, but the trio of local guitar stars Skip Moy, Eugene Pao and Tommy Ho, start at 9.30pm, which should give the fleet of foot a chance to catch both their show and the final set at the Blue Door. Get there early if you want a good seat. Another jazz gig, to which I've devoted much attention over the past few days, took place rather further away - and a little over 60 years ago. However, a recording of it didn't surface until last year, and the CD has only just become available in Hong Kong. We probably would have got Dizzy Gillespie/Charlie Parker, Town Hall, New York City, June 22, 1945 a little earlier if it had come out on a major jazz label, as last year's revelatory, lost Thelonious Monk Quartet with John Coltrane at Carnegie Hall recordings did. These equally historic acetates were acquired by Bob Sunenblick of the small independent Uptown Records imprint, and as a result the CD has taken longer to reach our record stores. Uptown specialises in lost recordings by notable jazz musicians, but these are Sunenblick's greatest coup to date. Critic Ira Gitler, in an effusive liner note, likens the discovery to that of Tutankhamen's burial chamber. That analogy may be a little over the top, and there are reasons other than promotional budgets why the release of the two Coltrane concerts overshadowed, if not eclipsed, that of this set. One is sound quality. When this ground-breaking music was captured, 12 years before the Coltrane-Monk summit and 20 years before the Live at the Half Note performances, the direct-to-disc cutter recording technology was much more primitive. Another is that the Gillespie-Parker partnership is reasonably well documented, albeit largely in lo-fi sound, and there wasn't the same consciousness of a gap existing as there was in connection with Coltrane's live performances with Monk. On the other hand, for a variety of reasons, no recording of them released to date captures the creative energy and anarchic atmosphere of the birth of bebop quite so well as this. Many recordings from the 40s are interrupted mid-performance while the engineer changes the disc, but this whole set was recorded on two disc-cutting machines, set to overlap, so all the music, and the links by radio presenter 'Symphony Sid' Torin, are present in their entirety. This CD comprises the complete 40-minute set by the Dizzy Gillespie Quintet, featuring Parker, Al Haig, Max Roach and Curly Russell. Sadly, the estate of Erroll Garner blocked the release of the second half of the concert, in which he performed with several other artists, including Pearl Bailey and Buck Clayton, but the package we have is nevertheless a fascinating period piece as well as a compelling recording of an important nascent musical movement. The CD booklet includes a review from a Downbeat contributor lamenting the absence of Coleman Hawkins - a no-show - and describes the Gillespie band's music as 'repetitious and for that reason dull'. Metronome noted that 'Dizzy played a disappointing set, taking most of the numbers too fast for comfortable phrasing'. Other times, other opinions.