martini

I'd love to see the Horo material reissued, as long as it is done from the original tapes. If the CDs coming out are cheap vinyl rips, I think I'll still be trying to track down the original vinyls at a sub-premium price. It is hard to do, but occasionally possible, with the exception of the Sun Ra stuff. There are a few on the label that I have been trying to track down for years with no success (e.g., A European Proposal featuring Schiano/Rutherford/Mengelberg/Bennink, the large ensemble on Laboratorio Della Quercia, the Shepp albums, and the Rudd solo album). About 12 years ago, when I first got on the internet, I recall that the guy that ran Horo was still selling his vinyl back stock, but I remember that one had to order in bulk. The price seemed high at the time--a few hundred bucks to place a minimum order, I think--but in retrospect it would have been worth doing. Did anyone order from him back then?

Han Bennink (Third Man Trio 2009-10-19 Seattle) The venue (Good Shepherd Center):

I'm going up to Seattle next week to catch the 3rd Man trio as advertised here. I don't think they have released a CD yet, but please correct me if I'm wrong. I've also seen the band billed as the "Third Man Trio," so I'm not sure of the preferred spelling of the band. It looks like they are playing coast to coast this month. If anyone attends one of the other shows, it would be great to get a brief review. I imagine that the music will be much more in the vein of the Clusone Trio rather than something like BBG, but it would be great to read some impressions.

I just pre-ordered the mono set from some place called CD Pacific for $216.00 USD. Has anyone ordered from them before? Also, I'd appreciate knowing if the set can be found cheaper elsewhere. I've always been a marginal Beatles fan (but like them more in recent years), but have never heard any of the mono mixes. I'm curious if it will make Revolver an even better experience, as it is my favorite of their albums. If anyone buys the mono set and also has the original mono LPs, I'd be interested in reading about a sound comparison. CDs tend to be mixed too much "in the red" these days, and I hope this Beatles set doesn't follow suit. Although I can't imagine any CD sounding better than an original LP, I'm hoping the CD set was mastered with the quality of the music as the main concern, even given the limitations of the medium. I hope it is not muddy and overloaded in comparison to the originals.

Miles Davis's The Cellar Door Sessions 1970. I spun it a couple of times, but after already owning the Bitches Brew and Jack Johnson sets (the latter of which I love), I found that I pretty much reached my limit with regard to the Miles's fusion scraps that the label has boxed up in recent years. I need to give it another chance, since it has been collecting dust for a couple of years. Or maybe I can convince my family to pass it around to one another at Christmas, not unlike a "recycled" fruitcake.

Just ordered the Parlan set. I feel fortunate to have a second chance on this one. The session info looks dynamite.

I've only seen the one that I have, and it has some "wrinkling" on the top photo (not on the back), but no splitting. The vinyl is as clean as can be. I've only had it for a day, and just spun Side 1 of ICP 007. It is definitely a "Breuker-fest," and unlike the textures of the previous ICP records, though I haven't heard ICP 001. When the bank account recovers, I'll round that one up. I haven't had time to digest it fully, but some of the pieces remind me of Breuker's Baal. Hell yeah, this is awesome stuff. Someone needs to get this one back into print. Breuker, Bennink(s), Mengelberg, Tchicai, Braxton, Hampel, and, one of my new favorites, Van Manen? Count me in. I have Breuker's ICP 009 on the way (it was his last on the label, I think), and it should be fantastic as well. Time to break out my copy of New Dutch Swing and re-read about these cats.

Instant Composers Pool: ICP 007/008 (the "Chocolate Box"):

Thanks for the heads up about this LP. It is spendy, but I imagine it will hold its value and then some in the coming years. It would also be nice to see a CD box of those 10 hours of tapes to which they refer on the site. It would be a nice complement to the great 2 T's set.

I picked up this set last month when JazzLoft had a sale (10% off and free shipping over $75). The CDs could have been better protected in the set, but overall I'm quite elated by the package. The music is dynamite--inside/outside with occasional segues into funk. I have now become a fan of Dave Rempis, in particular. Does anyone have particular recommendations of his work outside of the V5? I'd also be interested in reading other thoughts about the Alchemia set. IMO, this one is a winner.

I received my Pepper box (and the Evans The Secret Sessions) yesterday and the discs, although used, look completely mint. Same with the Evans set. I'm quite pleased with the purchase and the timely shipping. If they had nine Pepper sets in stock last week, as their website claimed, they must have sold them to everyone here on this thread (or close to it).

I ordered mine a couple of days ago, when they said they still had nine Pepper sets in stock, along with Evans's The Secret Sessions, which I regretted selling years ago (but I used the funds to finance the Cecil/Neidlinger Mosaic, so the regrets are minimal). I haven't received a shipping confirmation for either. I'm hoping that the orders will go through. At those prices ($11.74 for the Pepper and $19.98 for the Evans) both sets would be a steal.

The books arrived yesterday, and it did include the paperback index with the 2 Vol. hardcovers. You are correct about needing it, though. These books would be difficult to use without it.

One? How about four?

I'll have to check this one out. Thanks for the information, everybody. I became curious about the discographies of Brian Rust as a result of these posts. His JAZZ AND RAGTIME RECORDS (1897-1942) is available on CD Rom from the publisher, but currently OOP in book form. However, today I was able to order an OOP hard copy set (library bound) here: http://www.rustbooks.com/books.php at a discounted price. Anyone interested might want to email the webmaster for pricing and availability.

Thanks so much for the links. This helps a ton. I have Perfect 12280 (The Birth of the Blues/Deep River Blues), which according to the page that you linked was from 7/28/26; Perfect 12311 (Clap Yo' Hands/Thinking of You), which has a date of 12/14/26; and Perfect 14938 (There Must be a Silver Lining/Oh! Ya Ya); the former track was recorded 1/25/28 and the latter on 1/30/28. If they are different than what is listed in Rust's book, let me know. Thanks for your help.

I just picked up the Benedetti/Parker Mosaic a few weeks ago. I wasn't sure if a set of fragments would be a good listen, but I already had the CP Savoy/Dial and Verve sets, so I figured that it was time to take the plunge. I'm shocked at how good this set is. Listening to the set for a few hours in a row is like standing too close to the sun. It is brilliantly hot. The booklet is the best that I've come across in the 14 big box Mosaics that I own.

I recently picked up some 78s of Willard Robison (unfortunately none featuring Bix) on Perfect, but I'm having a hard time finding a Robison discography (or a discography of the label) that provides information about the recording dates. Does anyone know of a site out there that has this information? Or a book that I can buy that might have it? Thanks.

I'm checking out Lou and Bobby--it should be killer. For getting the funding together for the festival late, I think they did a pretty good job with the lineup this year.

Does anyone know where I can find the session info for this OOP set: #146 The Complete Decca Studio Recordings of Louis Armstrong and the All Stars (6 CDs or 8 Q-LPs) Thanks so much.

I have fond memories of J. Leonard--as a kid, when I hit a HR (once in a blue moon), I went "one flap down." I'm still thankful that I didn't get my ass kicked by one of the parents. I deserved it, actually. I lived in Fremont for awhile in the early '80s. My Dad used to give us the choice to see either A's games or Giants's games. The ease with which one could take BART to Oakland from Fremont, combined with the warmer weather, the fact that Billy Martin (A's manager) was always a show in himself, and that damn near every game Rickey Henderson would steal a bag or two (or three) made it an easy choice. Hmm, "Billy Ball" or sitting in the cold watching Johnnie Lemaster? We hung with the A's. I just wish Mike Norris (A's pitcher) would have layed off of the blow. That kid had a future.

This is a bad cover and not a great photo, either: I'm not sure what the boot symbolizes, and I have no comment on the "rabbit". . . .

I saw AC/DC in Portland, Oregon, in 1991 and that gig was excruciatingly loud (but WTF?, it is AC/DC, right? Yeah, "Rock and Roll Ain't Noise Pollution!"). I recall about three tunes into the set that some guy in front of me who had probably smoked/drank too many "chemicals" got sick from the pure gravity and density of the drum beats, and lost his stomach contents right in the aisle. Maybe he was going to get sick anyway, but the loudness of the music facilitated the process, I'm sure (or at least that is what I'd like to think). Probably the loudest gig I've ever been to was seeing Blue Cheer at a small club called El Corazon in Seattle a couple of years ago. Blue Cheer was one of the loudest bands of the '60s, and often show up on the old Fillmore posters in support of the major acts of the day (Jimi, Cream, Big Brother, etc.). Well, they are still around--2/3 of the original three piece band is there--and they are still loud. That night the bass player (Dickie Peterson) was playing so loud that you could literally see people's hair blow backwards in the crowd when he played his bass. I recall thinking how strange it was to see a guy's bass rig literally blow the audience's hair back. Weird.

I'm getting my set next week, and I'm looking forward to reading Heffley's liner notes. I'd be surprised to see many errors other than the aforementioned, as he is typically careful with the details. I've read the outtakes to the Mosaic notes available on his website and they seem more straightforward than most of his writings, which, coming from academia, are pretty steeped in history and theory. I imagine the liner notes to the Mosaic set will also be pretty straightforward. He wrote a nice book about Braxton in the '90s, and I enjoyed reading it years ago (time to pull it out again), but his approach was pretty massive in scope. A few years ago, I also bought a copy of his dissertation Northern Sun, Southern Moon, although I'm only about 1/3 through it (it clocks in at 1757 pages). It has since been released as a book in shorter form. Anyone who is interested in the FMP crowd might want to check it out. It is available at Amazon. For those of you who will be getting the Braxton Mosaic set, I'd recommend getting the book about Braxton by Ronald Radano. He spends a lot of time focusing on the critical reception of Braxton during the '70s, his Arista period. The material is presented clearly, it is well-researched and documented, and it is an enjoyable read.

Curtis Fuller's Bone & Bari is a dynamite session. I picked up the Japanese import, and I think it set me back about $25, but it was totally worth it, as the sound of the front line is pretty unusual. It is a short record, but it is wonderful stuff. No regrets.