chuckyd4

I didn't get a link, but would still be interested in participating.

Long time, no post. I'd be interested in a dl link. Thanks.

Apparently, based on the information you just gave, these are indeed the 24-bit remasters. For instance, my Here Comes Louis Smith is labeled as "TOCJ-6594". I am far from being an audiophile (hell, I like the domestic RVGs just fine), but these sound great to my ears.

So on my last couple trips to major chain stores (FNAC and Virgin), browsing through the racks, I noticed a huge number of rare/domestically-OOP Blue Notes with some kind of Japanese marketing sticker on the front. Not being much of an audiophile, and not being particularly super-wealthy, I've never been the kind of guy that can justify spending loads of money on Japanese issues of good albums. I'd like to, just usually don't feel like I can afford it. Which is to say, I'm not really familiar with all the different reissue series around the world, but TOCJ seems to ring a bell as being a good thing, and that is what all these Blue Notes have written on the spine by the index number. Anyway, the cool part about all of this is that they are mostly all on sale for around 15 Euros (which is around what they charge for normal CDs, which yes is expensive), and some of these I've never seen in person, just read about (I don't visit the import section much for above-stated reasons). In any case, I am currently enjoying Louis Smith's Smithville, and will be moving on next to Here Comes Louis Smith. I'd always heard good things about these underrated albums, and so far they are right. Charlie Rouse is absolutely killing on this session. Smith is a total, pleasant surprise - straight out of the Brownie school, totally early-Lee Morgan-era BN stuff. Plus a rhythm section of Sonny Clark, Paul Chambers and Art Taylor on this one. Dig it. So I was just wondering if we just got really lucky out of the blue here in Paris or if this is happening stateside as well? Like is Tower suddenly stocking copious amounts of reasonably priced TOCJ's? I hope this is a long-term thing, and not some kind of freak accident. But just in case, next time I get paid, I'm gonna go spend an afternoon in Virgin or FNAC grabbing everything I can. Speaking of which, anyone ever heard Donald Byrd's Byrd in Flight? Amazing lineup, I was on the verge of buying it, but already had the two Smith's, as well as Notorious BIG's Ready to Die and Bebel Gilberto's latest (both on sale for 8 euros) in hand.

Maybe that's why I never really got the Sex Mob stuff. Those other two groups are also among the groups I've bought multiple CDs by and then ended up selling all of back. I don't hate it, just always felt like I'd never listen to it without prompting, and would rather use some of that money for other discs.

You're right, we do disagree. Again, this is without my having actually heard the recording in question. I do agree it would be interesting to hear once, as it would be interesting to read a grammar school essay by Faulkner for instance, if such a thing existed. But there are so many other albums by artists that I love in their mature prime, and which I still don't own, that I dare say those would be far higher up on my list of things I need to buy. Since we disagree, maybe you can be the one who buys it, and then send me a copy for free?

Thanks for the heads up... well-designed and informative site. Sent the link to my Mom, who is on the Boston North Shore.

A recording like this would represent a turning point in my jazz buying/collecting habits in the last few years. Early on, I would have snapped up something like this, thinking I needed to have every little scrap by my favorite artists. More recently I've decided I'm perfectly happy with the sessions I love, and don't need tinny recordings of someone like Dolphy from his garage. Maybe if I was writing a book about him, but certainly not just for the enjoyment of listening to him. That said, I haven't heard it myself.

Sorry, I'd have to side with those guys. I bought two of their albums back in the late 90's-2000 era, listened to both of them a number of times all the way through, and ended up selling both of them back. Never clicked for me. I think my reaction would be something along the lines that it seemed cold and detached to me. If it was supposed to be sly and witty, I just found it boring. If it was supposed to be hard-hitting, grab you by the balls type of music, I just found it ho-hum. Not really sure what these guys were going for, but it never grabbed me in any significant way.

I ended up with a trip for me and my girlfriend to Rwanda over the holidays. Not everybody's idea of a great time, but I think it should be pretty incredible and off-the-beaten-track, so to speak. We leave on Monday..

If anybody in the Paris area is curious about this set and has some extra cash, I noticed in the FNAC on the rue de Rennes the other day that there are 2 sets sitting in the jazz department. They were 100 euros +, but I don't remember the exact price tag. If anybody wants to give me about 100 euros, I would be all over this one.

I just saw him last night here in Paris. Despite the stuffy concert hall/auditorium atmosphere, it was a fantastic show. Two full sets plus 3 (or 4?) encores. Played a number of things off the trio's latest album, plus a couple of Beatles tunes, a really reworked version of Radiohead's "Exit Music for a Film", and some other things I didn't really recognize. I could listen to that trio play all night.

Listening to too much John Zorn

I have seen these in the stores around here, and am looking forward to the right window in my budget when I can spring for them. Slowly gathering a complete collection of the man's work, and these sound like essential additions.

I've been listening to this at least once or twice a day since I picked it up on Wednesday (even listened once all the way through on headphones in the store before I bought it - just cause I was so excited to hear it!) Frankly, I see where most everyone is coming regarding whether they like this more or less than some of the other stuff. I don't know if I like it better than the three studio tracks - those three tracks were hugely influential in getting me into jazz in the first place, and I could probably sing them note for note, so it's at such a deep level I have a hard time comparing them to much of anything. That said, I am so thankful that this is now in my collection - whether or not it's better, it's an incredibly complex, nuanced, and just plain fun performance, three masters (i only omit malik because it's a little hard to hear him in the mix) going all out, playing with familiar material like silly putty. Similarly, I see what you all are saying about Griffin v. Coltrane as a Monk foil. I don't really have a favorite - I find both of them excellent interpreters of this stuff, and am glad I don't have to choose. Ditto that for Charlie Rouse. The most I can say is to note how different all three of them were before and after there time with Monk. I would say the essential turning point in their careers, where they really came into their own. Thanks to all the people involved in getting this out to the public. I too hope it sells in the six figures.

Welcome to the club. No seriously, Cymande is great, glad you somehow finally got hipped to them.

My girlfriend will ocassionally peek over my shoulder and then go "ooOOooo... Organissimo" in that kind of voice little kids make when they do the "chuck and the O, sittin in a tree..." Sometimes I'll be telling a story about something "one of my friends" told me, and she'll ask if it's one of my "internet friends." Doesn't bother her really at all, though. She usually thinks the stuff I mention to her is pretty funny, and knows it's good for me to have other folks to get into all kinds of geeky musical discussions with.

Another lesser known, but important Chinese-Jamaican producer was Herman Chin-Loy. He loved jazz, and is notable (among other things) for producing the first recording by Augustus Pablo. Pressure Sounds (a great label), just released this awesome compilation: Aquarius Rock I brought this thread up, because I'm listening to the great compilation on Blood & Fire, Yabby You: Jesus Dread (1972-1977). It doesn't really fit into the original thread title, but I figure if we start more than one reggae thread on the board, people might get a little antsy. In any case, this stuff is fantastic - 2 discs worth of original tracks, versions, and instrumental takes. Absolutely crucial roots stuff... you can hear the vibe being stripped down, totally spiritual and musically on point. Thought maybe we could revive the thread and spark some more discussion beyond just ska and rocksteady (or we can keep talking about that, too!). I've been listening to more reggae, African, hip hop, soul and other stuff than jazz in the last few months - probably while all my recent posts are on those topics. Jazz has been, and always will be first, but I go through phases where I get really deep into other genres as well.

I don't want to mislead you, there's quite a bit more straight "hip hop" on the other tracks - i.e. just good rhymes over interesting beats. They don't always stretch out that much. But if you like the melding of influences on that track, it's worth checking out at least. On one song they even have a little hoe-down section which works way better than it sounds described. Very funky/thoughtful stuff, all done in a fantastic southern drawl. One of my favorite front-porch-drankin-a-beer albums. Maybe somebody else can give a better description than I can.

I'm not claiming that I've got any kind of huge love for Kanye (I already mentioned how I don't really dig much on Late Registration), but I think the the "rehashing Golden Era production" isn't entirely true. For instance, on the new one, he actually had the whole thing produced by Jon Brion (of Fiona Apple fame, among others). I don't think the result was particularly amazing, but it's certainly different than simply sampling some soul records. I see where you're coming from, but I think it's a bit of an overreaction. I only wish Diddy put half as much thought into the shit he does as West does. Definitely doesn't measure up to Diamond D, for instance, though, you're right! (I was just listening to Stunts, Blunts, etc. the other day).

My favorite track so far, by far. That is one smooth, yet whacked, delivery! ← Hope I'm not stepping on any toes by jumping in here. But Noj was kind enough to send me the tracklist and I have a lot of the stuff, so I thought I could add my thoughts here and there. Hope this isn't giving away too much, but there has actually been quite a bit of discussioin about the Track 7 group elsewhere on this board. This one comes from their earlier stuff, which IMO is absolutely critical 1990's music of any genre. Some people who only know them from the recent radio would probably be quite surprised and maybe impressed to hear that other stuff. The main thought I had when seeing the tracklist was that - seeing how Noj is from California - it has a higher representation of Left Coast artists than your average "hip hop mix." Which is a cool thing, because between LA and the Bay Area, there have been loads of underappreciated artists within the last 15 years or so - a couple of big scenes that took a much different approach to the community decay that spawned the much more famous "gangsta" boom in the mid 90's. Great selection, I hope it turns on a few more people to at least the creativity in the genre, even if they don't start listening to it full time. Oh, and Jim - I have an mp3 of that Slick Rick/Doug E. Fresh track that my friend ripped off the original vinyl. If you're referring to "La Di Da Di." One of my favorite "fun" Black Thought (from the Roots) verses goes: "Bust it - La di da di, who likes to party/ Like Slick Rick the ruler I'm cooler than the ice brick/ Got soul like those afro picks - with the black fist And leave a crowd drippin' like John the Baptist"

I thought College Dropout was decent, but have been kind of "meh" towards Late Registration. I love his production, as always, though.

It's quite good: I definitely snorted my Coke a couple of times. Mostly because the folks you least expect (or I did) - like Bob Saget and Whoopi Goldberg - absolutely steal the show. While others - like George Carlin - really let me down. Also some really interesting tellings of the joke, like one by a guy who does card tricks, or a mime. Definitely recommended, even if it could have used some editing here and there. I did like the - dare I say - improvisatory way it unfolded though, where one person would say something and they'd cut to a clip of somebody else that proved the point and on and on.

Even though there is a French iTunes store, apparently these are not available (or the one I tried, anyway) in France. I've had that Hawkins/Eldridge at the Opera House on vinyl for ages... one of my first jazz records. Couldn't remember seeing it on CD anywhere, so I was ecstatic when I saw it for download. Ah well, probably didn't need to spend the 10 bucks, anyway.