ajf67

Just got Teddy Wilson and am listening to disc one right now. Really infectous stuff. Great sound too. You guys are right about Malcolm Addey.

Damn. I should have gone to this too. Right in my neighborhood, two blocks from my apt. That'll teach me not to check the Live Shows thread. maybe I'll catch you guys next time.

Love the Stones, but, um.... http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...4023267568&rd=1Some CRAZY Girls

Just got the CD today with the alternate takes. Very nice. I really loved the take of "A TIme for Love," with Lou Levy on electric piano. Too bad the piano turned out to be defective and more of it couldn't be included, because the sound of it with Marsh's horn is great. Levy really does a first-rate job on this whole session. Nice job on the remastering too.

I've been on a bit of a Bill Dixon kick lately, so I've got on "Consequences," which has one side of his group with Ken McIntyre (alto), George Barrow (tenor), Howard Johnson (tuba), David Izenson and Hal Dodson (bass) and Howard McRae (drums) . The music is heading "outward" but with an underlying swing that turns in parts into an African polyrythmic base underneath the horns. Very cool music. The recording quality is not so hot though. From December, 1963. BYG Records.

Good to see this out again. Very under-appreciated artist. He opened for Lucinda Williams when she was in DC a while back and was great. Just him and his guitar.

Leeway, I was referring to the first one, Jazz: The View from Within. Didn't know about the latter. The parts I found most interesting were the chapters on Monk and Bill Evans. It has his 1948 article from his original interview with Monk, some liner notes from Monk albums from 1955-60 and then the text he wrote and the session notes from the Complete Riverside Recordings of Thelonious Monk. The Evans chapter is the text from what looks like an Evans box set from 56-63. Other items are some of his book reviews, a defense of Lennie Bruce and the lalbum notes from the Two-fers from Wes Montgomery, Johnny Griffin, Cannonball Adderly, Nat Adderly, and the Bill Evans "Interplay Sessions." It starts with an Introduction that puts these items in context and then an afterword about jazz criticism.

Ditto on "A Love Supreme" I'll add Bobby Timmons' piano on "Moanin'"

Interesting link, Brownie. Thanks for adding it. Didn't mean for my post to add to piling on Keepnews. I really only know what I've read in his book, his liner notes and the little that comes through in books like the Bill Evans biography and others. So, I'm glad to hear others' views and links to get a fuller picture.

Ditto. And thanks for starting this thread. I don't think Riverside gets its due because it put out some outstanding releases. Most of what I know about it comes from Keepnews' book, which sounds like it should be taken with a large grain of salt.

I wasn't around much for Greg, but I did see some old threads, so I'll keep quiet about SACD.... Can't help on the Grant Green, but i will ask if anyone knows what the J. J. Johnson material is.

I'll choose the 24-bit re-issues, but mostly because I don't want to have to buy a new machine, and the SACDs aren't backwards-compatible with CD players. They are coming down in price, but I already went through replacing many LPs with CDs in the 80s and I don't feel like doing it again. I'm sure they sound great, but I think newly remastered CDs sound very good too, and it isn't worth it to me yet (although I am the same guy who just bought a mono copy of Classic Records Moanin' when i already have numnerous versions of it, so who's the sucker, right? )

I have to register my first dissappointment with Classic Records. I just received their mono version of Moanin' and I think they really botched this. The piano sound is way off, both in terms of its volume in the mix and its tone. In the intro, Bobby Timmons' piano was so soft I cranked up the volume, then when the horns kicked in they were much too LOUD. I didn't remember there being such a difference between the levels of the intro piano and the beginning of the horns, and I have a bunch of versions of this to compare, including mono and stereo W. 63rd copies. and the RVG CD (I know, I know...). After playing them all, neither the W. 63rds nor the RVG CD sounded like this at all (and man those W. 63rds sounded great). I actually liked the CD better than the Classic LP, which I never thought would happen. Anyone else have this problem?

Just wanted to send this thread to the top again because I think it's so important.

This also brings us back to the issue of what happens to the original tapes? Without a profitable reason for the corporations who own them to care for them anymore, what will become of them? Will these valuable pieces of our culture just dissappear?

Don't have the Cherry LP , but I do have and am playing tonight: Dewey Redman "Tarik" Warne Marsh "All Music" (yes, again!) Art Blakey "Moanin" -- my new mono copy from Classic Records.

Warne Marsh "All Music" (1976, Nessa Records) So great I played it twice.

I keep coming back to this thread, and tonight as I'm reading through it I've listened to my LP of this twice and I really like the descriptions of "push\pull" and "liquid" to describe his playing. I can't wait to hear the alternate takes on the CD. I've played the tune "Background Music" three times and it is anything but! I've always liked Marsh and this album, but haven't really focused intently on it as much as this thread has helped me to do. Thanks all for your comments. I'd love to read the book, but don't feel like shelling out the $80 I've seen it for anytime I've found it on line.

Yes, and given what too often passes for "VG+" on E-Bay, I can just imagine what "a bit rough" means

Leeway, take the plunge, you'll love it. And it's probably the cheapest way you'll ever hear it in mono. It's easy for me to say though, because I live alone and don't have to answer to anyone. If I were to have my spending audited -- like by a wife, say -- I'd have to find ways of sneaking all this shit in the door! We're the same on this. I like them probably because I came to jazz during the CD era and when I found a lot of these on vinyl it was like I rediscovered them because the sound was so much better. And the difference between the CDs I was used to and even the Libertys and blue labels was significant. And I don't care much for the Manhattans either. The worst that I have are some French ones issued by Pathe Marconi. Very bright and the soundstage is very forward, so much so that it is distracting.

Amen!

I realize I didn't really answer your question above either, because I only offered a comparision between the Classics mono Blue Train and a Liberty re-issue in stereo. But, for what it's worth, the one stereo Classics Records re-issue I own is Sonny Rollins' "The Bridge" and it sounds great, so they can do stereo very well. I would bet your choice on Blue Train boils down only to whether you like mono or stereo. I bet both sound great.

The only time this ever happened to me was when I bought a British copy of Sinatra at the Sands at a used record store, and one of the sides was a live recording of the Grateful Dead.

Just bought Teddy Wilson, and since I was there I thought it would somehow be wrong of me not to pick up another one too, so I added the Turrentine set. Makes sense, right? Right?