Shrdlu

Those guys should have picked good reeds before the gig. Normally, a reed lasts for weeks or even months - perhaps not if you are in Glenn Miller's orchestra and playing every night. If you are trying out a new reed, you might very well reject the first new one, which would explain these guys trying two each. There are bad reeds in every box, but you can see the bad ones by looking at them for uneven-ness. Since I started playing, I have stuck with the brown box Ricos (not the Rico.Royals) with constant success. Recently, I tried some Vandorens and they were good, too. Reeds need not be a nightmare, and never have been for me.

Yes, I saw that, thanks, Lon. I was wondering if anyone else had any comments to make.

Now that we know whose parcel arrived/didn't arrive, may we have reports on the sound and the booklet?

Must check out the Ammons video. He had a husky tone that we tenor players would like to have. Thanks for posting.

This is sad to hear. What a history. I saw the Heath Brothers in Victoria, British Columbia, in about 1981. Jimmy played a scorching solo on "On The Trail", better than on the Riverside album of the same name, though that is a favorite of his albums. He was also very effective on Bags's Impulse album, "The Jazz 'N' Samba".

I had a look online about the show, and was disappointed to see that the locations were seldom on U.S. 66. This means that little of the old highway is seen. The locations were in a large number of States. I assume that readers know the route of 66 and that most of its path was gobbled up by I-44, I-40 etc.

Michigan is pure?

Tom, it's "Third Season". It does have a previously unissued track (2012) but it is not the previously unissued track in the Mosaic. The new track is an alternate of "Me 'N' You".

I saw the show when it first came out, but I don't recall what it was like. I miss U.S. 66. I've been to many parts of it - in Missouri, Kansas, Oklahoma, New Mexico and the L.A. area. In particular, Springfield, Missouri and Albuquerque, New Mexico. When driving West along Central Avenue in Albuquerque, with the sun setting in front of me, I hear Nat Cole.

From bitter experience, I know only too well that all "updates" cause problems or deterioration. I always say "No", but some force themselves on you. A recent "update" for Youtube messed up my list of watched videos. An "update" for my VPN actually crashed during the installation process, and I had to delete the entire VPN and use an earlier installer which I had kept. "if'n it ain't broke, ... "

Yes, I know about the tune. The Forum title is plural: the forum is for musicians. It is just a typo that slipped through. We live in the era of "we have three dog's".

Dear Moderators, will you kindly put the apostrophe in the forum title after the S? Thanks!

Yes, that might be it. I wasn't aware that Dolby wasn't on portables. I thought it kinda took over. My player is a big household on on a shelf. Any family portables were mono trash ones, so we weren't concerned with the sound. Back in the day, I had a nice cassette player in the car. Actually, they were standard in some cars years after CDs appeared. My 96 Volvo wagon originally came with a cassette deck.

The (U.S.) RVG of "A Fickle Sonance" does sound tinny. It sent me after the "Blue Note Works" CD, which is fine - as usual. So, get that version if you want a good one. There might very well be good Japanese versions since 2000. The Japanese RVG of "Speak Like A Child" sounds great. (I haven't heard the U.S. RVG of that.) It has also a neat replica of the gatefold LP cover. Overall, though, I haven't had much trouble with RVGs from either country. Often, they are the only way to get some tracks. An important example is "I'll Be Around", first take, by The Three Sounds, which was almost hidden on the JRVG of "Out Of This World". The CD sounds fine to me.

I never heard it said that Booker died because of drugs. I doubt that the family has anything to worry about. A fascinating story. Thanks for posting!

Naturally, I have been using CDs (and the occasional LP) for many years, but cassettes using Dolby sounded great and there was no audible tape hiss. I don't see any need to go further than that. I recall transferring a CD of Artur Rubinstein playing Brahms's First Piano Concerto onto a cassette. The playback was indistinguishable from the CD. It isn't the point, but in earlier years, I had a Tandberg open-reel tape deck, and that sounded great at 7 1/2 i.p.s. I couldn't afford to run at 15 i.p.s., and, at half speed, there was a 2-hour playing time. (It took 7" reels.) It would be interesting to see what kind of system they have come up with, and whether the difference between it and Dolby can be detected without laboratory equipment. "All the highest notes, neither sharp nor flat - the ear can't hear as high as that - , still I thought I'd please any passing bat, with my High Fidelitee." (Flanders and Swann, "At The Drop Of A Hat", ca. 1960.)

I sure hope that Curtis Fuller's Savoy albums sold well. They are excellent. Savoy also put out several Yusef Lateef albums in the 1950s, which are also excellent. It was in the mid-50s that they assembled all of Bird's Savoy recordings onto several LPs. Rudy van Gelder did the transfers. Those LPs must have been big sellers. This gives me an excuse again to request a Mosaic set of selected 1950s Savoy sessions up to Curtis Fuller's last session in 1960. There is a lot of material there and one would have to be selective. In no particular order, I would include the sessions of Milt Jackson (with Lucky Thompson), Yusef Lateef, Wilbur Harden (with Trane) and Kenny Clarke's "Bohemia After Dark" session, introducing Cannonball. I can't avoid feeling frustration that, instead of this, sets by Hank Mobley and Lee Morgan (of widely-published recordings) were planned. But, I do wish them well.

Horace sure deserves a program. That is a fine list. Do you have room for "Trees", from Roland Kirk's "I Talk With The Spirits" album? Horace plays an excellent solo on that. A great moment in music.

Perhaps one reason why the Japanese Blue Note CDs from 2012 through 2015 have previously unissued tracks is to counter the European pirate issues. I repeat that the availability of so much jazz on Youtube makes a mockery of all this legal stuff. Quite frankly, I am surprised that Youtube allows it when it routinely deletes freedom of expression.

I played for years with a pianist who toured America for six months opposite Monk. His wife said she sat on Rouse's knee. It was great playing with that pianist, because he knew how to play all the Monk tunes properly, with all the phrases in the right place.

In the middle of all this is the fact that a huge amount of classic jazz is on Youtube, from which it can be downloaded.

I respect an artist's right to protect his material and obtain income from its sales. Who wouldn't? But now, iconic music is controlled by three huge monstrosities that did absolutely nothing to create it, and usually pay no royalties to the artists or their estates. So it doesn't bother me that non-name companies are releasing the music. Years ago, I heard about a time when McCoy was asked, at a gig, to autograph a CD of "The Real McCoy". The excited fan said that the CD was selling well. McCoy said that he wasn't getting anything from the CD sales.

For when you reach 1973, I recommend Denny Zeitlin's "Expansion", with George Marsh and Mel Graves. It was issued as mail-order only, and, of course, on vinyl. It is listed on Discogs, which also shows a 1975 issue, possibly in stores. It's a very interesting, experimental album, with an unforgettable ending.

Dex sounded good on it. The only place I heard him do that is on the two CDs of the "Round Midnight" movie. I saw Zoot play it live at Ronnie Scott's club in London, England on a visit there in 1974. When I was in my teens, I wanted one, and said so at an instrument repair shop. The old fogeys there strongly advised against it. "Oooh nooo, cluck cluck cluck. You have to play the alto for 30 years first. Cluck cluck, it can't be played in tune, blah blah blah." What a way to treat a youngster! That was before Weather Report etc. Of course, I ignored this avuncular advice and got one anyway from M Jacques Selmer in Paris, France. I had zero trouble playing it. We used to do "In A Silent Way" with it - a firm favorite of mine.

That's right, and you spelled it correctly.