montg

What was it about Mobley that didn't appeal to Miles? I was listening to the Carnegie Hall CD last night and Mobley sounded mighty fine to me in that context. The rhythm section (Kelly/Chambers/Cobb) was certainly compatible with Mobley.

I bought a DCM-380 changer to replace a Sony-ES changer that had lasted about a dozen years. I was looking for a player that had the HDCD decoder as I have many Grateful Dead "Dick's Picks" and also like the convenience of a changer. While the Denon has been running for about 4 years now I'm not sure I would have bought it if I could do it all over again. Although it hasn't done so in many months, there were times where it would "spaz out" which require turning it off and waiting 30 seconds to stop the misbehaving. Examples include flipping between tray 1 & 2 repeatedly or not reading a disc in a tray. The tray construction is much flimsier than my old Sony, though I suppose that may be the difference between mid-line build in the 1990s and 21st century. I now often find myself using a Cambridge Audio single tray player that I bought for hi-res formats for playing regular cds, at least if I'm not playing a 2 disc set, just to avoid the occasional weirdness of the Denon player. So what you have here is a long-winded wishy washy semi-recommendation with a touch of purchase regret. *Forgot to add that the shallow trays (compared to the old Sony) mean you had better be absolutely certain the disc is fully in its space, as I once had a disc crack as it became dislodged when the tray closed. Another time somehow or other a disc fell into a "nether region" that required me taking the unit into the shop. The repair was done for free, mainly because the tech guy had never seen a disc become "so lost in the machine" before. I have the DCM-390 too. I've had it for about 5 years. The disc changer sounds like it's groaning when it rotates, but so far it has held up. It seems to groan more in the summer, when the house is warmer. Weird machine.

up.... I was just listening to David Murray (Octet plays Trane), which reminded me how great Gonsalves was (not a knock on Murray, btw).

I had a problem with them a few months ago when my credit card was charged for an ojc that had slipped out of stock and was never sent. It took a few e-mails before I finally got a response, but when I did, the matter was pretty quickly resolved. Other than that occasion, service has been great.

This would be a dream job. A huge library to choose from and 24 hours to fill everyday. Currently, the xm programming is relatively strong on the classic stuff but pretty weak on newer stuff (failing to venture beyond the J @ LC orbit). And, inexplicably, they program 'night time jazz' (read---'slow tempo boredom ad nauseum') after hours when, ideally, after hours is the time to be adventuresome.

Thank you Von for the information. Here's hoping for success on your projects--they certainly sound worthy. I hope you'll keep us posted on progress.

This CD arrived in the mail yesterday....an amazing session! All the more poignant because it really does feel as though Morgan was finding a way to extend the hard bop idiom in fascinating ways. Like Joe Henderson's Power to the People, this music feels very contemporary (70ish, that is) while at the same deeply rooted. My first impressions, anyway, after spinning this CD all day while driving in the car.

Here are the top 10 sellers in the "modern Post Bop' category at Amazon today. Typical mix of new releases from the major labels combined with Miles, Coltrane, Getz.... I have no idea who Taylor Swift is, btw. The selling power that comes from being released by a major label is evident. -------------------------------------------------------------------------------- 1. Kind of Blue ~ Miles Davis ------------------------------------------------------------------------- 2. Taylor Swift ~ Taylor Swift (Artist) -------------------------------------------------------------------------------- 3. A Love Supreme ~ John Coltrane ----------------------------------------------------------------------------- 4. Metheny Mehldau Quartet ~ Pat Metheny (Artist), Brad Mehldau (Artist) ------------------------------------------------------------------------------- 5. Getz/Gilberto ~ Joao Gilberto, Stan Getz, Antonio Carlos Jobim -------------------------------------------------------------------------------- 6. John Coltrane & Johnny Hartman ~ Elvin Jones, Jimmy Garrison, John Coltrane, Johnny Hartman, McCoy Tyner -------------------------------------------------------------------------------- 7. Back East ~ Joshua Redman Trio (Artist) -------------------------------------------------------------------------------- 8. Live at the Village Vanguard ~ The Bill Charlap Trio (Artist), Bill Charlap (Performer), Peter Washington (Performer), Kenny Washington (Performer) -------------------------------------------------------------------------------- 9. Nightmoves ~ Kurt Elling (Artist) -------------------------------------------------------------------------------- 10. 75th Birthday Bash Live! ~ Kenny Burrell (Artist) --------------------------------------------------------------------------------

some overdue love for Billy Harper. i wish his 70s stuff was more readily available.

Does anyone know what archived sessions are referred to in this plea from the Nocturne website? I assume they're different from the material already released on CD by Fantasy and Fresh Sound jazzinhollywood My name is Von Babasin, and I am the youngest son of bassist Harry Babasin. With the son of his drummer/business partner/friend, Rex Harte, we collectively own the archive of music we call Jazz In Hollywood. Over 500 hours of analog jazz masters that help define west coast jazz history. They are in desperate need of remastering for historic preservation. We have been actively seeking funding for this museum/broadcast facility, and while being encouraged by the overall response, each time, it is at the cost of ownership and percentages that we would rather not surrender. We could fund the entire operation for just over two million dollars.

The only thing Michael tells me is what the whole world knows: CD sales are plummeting. Experts have predicted that when 2007 comes to a close, CD sales will have dropped 15-20% from (the already low numbers of) last year. 2008 is supposed to see another 20-25% drop. Since Jazz CD sales are normally low, I can't imagine the bean counters will allow Blue Note to spend a penny for future RVG CDs. RVG downloads maybe, but not CDs. If they don't sell, the beancounters don't let you issue them. Because jazz sales are low, you'd think the suits would just leave BN alone--what difference does it make to a huge conglomerate whether the Baby Face sells 4,000 units or 3,000 (25% less)? The big financial losses come from those mass marketed 'musicians' whose previous million sellers are now selling at hundreds of thousands fewer. My guess though is that the bean counters will go after the weakest branches first (i.e. jazz) and keep trying, vainly, to find the next million-selling idol.

I agree. Grant Green and Baby Face are unbeatable. The tocj I have sounds real nice, Baby Face's bass lines are pretty clear.

Thank you for the suggestions, they're much appreciated. Plenty to track down!

There's a lot of material out there, but other than Phil's work in 60s big bands (Oliver Nelson in particular), I really haven't heard much. I don't have any Phil Woods-led sessions in my collection, so I'm wide open for suggestions. Thanks.

Hel-LO.... The Onzy Matthews sound samples are up on the Mosaic site and they sound very good to me. Along the lines of Gerald Wilson and Oliver Nelson...I can never get enough of that big band style. When news of this set first came out, it was like Ozzie who? But now..hey, looking at the discography and listening to the samples, I'm really looking forward to this set.

I enjoy these discs quite a bit too; more than I expected I would when I purchased the set. None of the names were familiar to me at the time.

THANK YOU THANK YOU THANK YOU THANK YOU!!!!

Ari Brown from Chicago. I've been really enjoying his Delmark CD 'Venus'. I saw this notice from aaj recently which is good news for Ari fans: ARI BROWN Quartet- Live at the Green Mill in Chicago for upcoming Delmark Records DVD/CD - Friday, June 22nd and Saturday, June 23rd, 2007

Listening to the Farlow right now--I'm happy to have this, Farlow is amazing. all the plaudits for Farlow in this thread were right on target, imo.

Maynards chops certainly survived their share of abuse. But there was even harsher activity going on on the inside. MF played with a "dry embouchure", meaning that just before he would play he wouldn't lick his lips, he would dry them on the cuff of his shirt. This would give him a good "grip' on the mouthpiece. The combination of that and how his lips pressed on his teeth resulted in him building a callous on the inside of his upper lip. The callous had its own life cycle: There would be a point in the growth of the callous when it would allow MF to play pretty hard all night, but the callous would still be small enough that he could still play with some flixibility and subtlety. As the callous grew, MF would gain endurance, and could really scream all night, but would start to lose the flexibility. THEN, there would be a night when he would be pounding away, and the callous would crack. MF would go back to the hotel after the gig and take a long hot shower, steaming and soaking the callous, then he would...uh...remove the callous! He might mention it on the bus the next day, and that night his power and endurance would be a little down, but he would have tremendous flexibility and suppleness.. And the cycle would begin again... Nasty Buisiness! Great, if somewhat gruesome, story!

Right, I was lousy too, but no one needs to know that part of the story I could play taps pretty well though! When I was in high school the VFW guys would come and get me out of school fairly routinely to play taps at a vet's funeral...pretty cool, sitting in the VFW bar drinking coke while watchng the vets complain about Reagan and getting half drunk as they got prepared for their 21 gun salute at the funeral. It sure beat sitting in high school geometry class. I'm sure my lip swelling was due to poor technique and, like you said, getting into the upper register required me to hold/squeeze the trumpet hard. The physical demands of playing a trumpet are real, that's for sure. Look at Pops' upper lip..man that is hard work

I played the trumpet for 8 or 9 years through high school but finally gave it up, I was getting concerned my lip was going to be permanently swollen or scarred. Blowing air through brass is a tough way to make a living, just look at those pictures of Pops with scar tissue on his lips to see the evidence. It amazes me when old guys can still get a nice sound from the trumpet--like Ruby Braff playing into old age with emphysema even, don't know how he did it.

I think the sound is fine, it's fairly lively and Carter is well-recorded. I don't have the box so I can't compare it. I imagine most anyone would be satisfied with the sound on the OK (even if it's not overwhelming), so I guess it depends on how dissatisfied you are with what you currently have. Thanks for giving this session some extra love by making it aotw, good choice. Over the last month I've been listening to this CD more than any other in my collection. The opening, Black Narcissus, is classic. The title track, in fact, is the only one that I find less than stellar--RC's bass line gets a little annoying to me. There seems to have been a golden moment in jazz in the late 60s and very early 70s where jazz incorporated elements of rock--instrumentation and a rock sensibility-- without losing itself, as it later did imo, in the slick overproduced swamp of backbeats and endless vamps. In that golden moment I would add PTTP right alongside Filles, Red Clay, and even Hancock's Fat Albert Rotunda as some of the most enjoyable jazz music in my collection.

I checked around the internet the other night to try to find a copy of "Plectrist." I couldn't find anything under $40. Then I recalled this post from back in April and surfed on over to Walmart.com. Lo and behold, there it was for $14.88. I pulled the trigger, then thought I'd try to order an extra one, but they wouldn't let me. I received a shipment confirmation this morning. I surfed back to the site and they're now listing the disc as "Out of Stock." So it looks as though I got the last one! Thanks, montg! Thanks Organissimo Forums! I've been helped out tons of times by this board too. The Bauer CD is very nice, well worth the going the extra mile to track it down, imo

'Iron Mountain'--what a macabre-sounding place! I'm not sure I understand exactly what all this means--if the tapes are sent to Iron Mountain does that mean that they're virtually inacessible? So, no more reissues of any type (even the rvg and OK type of stuff?)? Or, will it be business as usual, with the tapes simply stored in a safer environemnt?