Matthew

O.K., I'll be sure not to mention one of my all-time jams of the Dead from this box: Beatiful Jam. Oh, and forget this Dark Star Jam>Spanish Jam>U.S. Blues thing -- just terrible!

There are not many record dates with Costa as a leader.. They'd make a good select though. The date with Farmer and Woods is probably the easiest to find. The Dot album House of Blue Lights seems to get the most accolades. I believe it was recently put out on CD in Japan Wonder if there are any unreleased tapes of Costa around. After all, there is the import cd of private tapes of the Farlow/Costa/Burke trio. In fact, it would be nice if those tapes were part of a Costa set, that way, the proper people would get paid. On another note, I'm just wondering if the bass was as prominent on the original Verve/Clef recordings as the Farlow Mosaic makes it. I mean, the bass is way up in the mix; there are points when the bass overwhelms the piano on some songs.

I was going to post something about my love of the Dead, but I'm still in shock over Jazzbo liking the vocals of BOTH Donna Jean & Woody Herman! OH MY GOSH

I'll keep flying the freak flag for this set. Musically, this is one of the most impressive Mosaic's that I own (have 41 sets), and the music is of a very high level throughout this set. I can see why Farlow is is rated so highly by other guitarists, it seems like he never repeats himself, and he is always creative in his approach. It's too bad that he didn't record any Monk tunes during this era, Farlow playing Monk would have been a very interesting combination. And Mosaic absolutely has to do a Eddie Costa set pronto!

June Christy!

I received my set today, #201, so it looks like a number of people pre-ordered this one. I put the first cd in and start to read the brochure. As I'm reading, I begin to hear the music, saying: "This is good." Keep reading, then I start to listen more and read less, saying: "This is really good." Finally, I stop reading and just listen, then say: "This is really good music! It is great jazz, and the sound the Farlow gets out of his guitar is an unique, deep sound. The Addey remastering is crystal clear, but yet has a warm quality to it. The brochure is a very interesting read, with a lot of detail for those of us who do not know too much about Farlow. Just on disk two right now, but I know this set will be played many times over the coming years. Glad I got it.

I would concur, based on the shape of the cutaway, the tailpiece, and the one "speed" knob in view. It's pre 1957 vintage for sure (tailpiece became more ornate on the 57 models among other things). My guess would be 49-53 era. I wish I could see the pickup(s) that would really help. Additionally, you can see part of the f-hole below the pickguard. It's hollow. The only thing I don't know, is if dots or trapezoid fret board markers were used on 49-53 vintage 175's. Seems like a question for Jim R. Any idea when that picture was taken? Whatever it is, it looks awfully small in Tal's hands. He had huge hands. Just for my own information: What are the qualities that jazz guitarists look for in a guitar? What would Farlow look for in a guitar?

Sounds like you have a case of Mosaicphobia. It's a condition of a person that is scared to take in the full Mosaic experience, which involves the set number, keeping the payment receipt, keeping the shipping box, using gloves to take the cds out, etc. I'm sure with years of expensive therapy you'll get over it.

I second that opinion. I haven't picked up the Mosaic as I have quite a bit of it already, much on vinyl, some on CD. Anita is terrific and, odd to say maybe, but still underrated in many quarters. Let me third those thoughts! I recently went through the whole set and found it wonderful on all levels. Certainly a must buy if you're a fan of jazz vocals. This and the Capitol Jazz Sessions are the two most overlooked Mosaics to my mind. Both are treasure troves of great music.

Hopefully, mine will reach SoCal today. I pre-ordered this set purely on reputation alone. I have no Farlow music in my collection, but the line-ups looked so interesting, and I have such a paucity of guitar based jazz in my collection, that I felt I needed this set. No one has any comments on the music so far?

It's a "JSngryism" that he always uses when talking about Dusty Groove.

The Grateful Dead: --- Dick's Picks vol's: 4,15, 16, 18, 20 --- Nightfall of Diamonds --- Grayfolded --- Gateway to Paris I've decided for the next couple of months just to work on building up my Dead collection. I guess when the Dead bug hits you, you just have to ride it out. And I have a major sickness for the Dead right now.

The Grateful Dead: Dark Star

My personel opinion: HDCD is the equal of XRCD. I'm very happy with the quality of sound that you get with HDCD, plus the added bonus that you don't pay extra like the other formats. The Grateful Dead HDCDs are very nice, the Pernice Brothers sound great, and don't forget the Nessa Records put "Snurdy" on HDCD. So, this is one "improvement" I like, without it costing me more money.

Disk three. Gerald Wilson's arrangements continue to grow with every listen. Wonderful stuff .

I understand your points, it's just I wished there was another way to do the interviews, such as, being able to download them off the Revenant web-site (each set could come with a unique password for access), or just print the interviews, with, maybe a short 15 minute interview to conclude the set so we could hear Ayler's voice. I know that I'll get this set first thing when it comes out, I just feel that my "bang-for-the-buck" music value has been lessened.

Well, put me down as one of those crying foul on this development. Interviews are o.k. to hear once or twice, but to have two cds be nothing but interviews on what will be a very expensive set, is, to my view, terrible. I would much rather have nine complete cds of unissued music then seven. A big negitive move to my mind, and one which might affect my willingness to buy the set.

Have to enlarge it. Good luck.

Hmmmmm, Jam Session, Accchhhhhh

Carmell Jones: Disk one.

The starting riff from Black Sabbath's After Forever, and the main riff for The Theme for Friends, the TV show. Someone owned a copy of Master of Reality at sometime.

What's interesting is that I've always heard the comment that the sales of Creedence Clearwater Revival made possible the number of cds in print at Fantasy Jazz. Now there's no corporate connection between the two, which could gum-up the whole works. If I have my facts right -- which sometimes I don't.

Where did Mark Furman live? How many of the police on the Simpson case lived in Simi Valley? Most of them.

Interesting, perhaps, but far, very far, from a slam dunk. He questions the lack of blood on the gas pedal of the Bronco? Well, from the footprints leading away from the crime scene, the trail fades away and stops. Obviously the blood wore off the sole of the shoe before he got to the car. So, you're telling me that O.J.'s shoes had enough blood on them to leave footprints, but no other part of O.J. had any blood to leave traces in his car? Also, that all traces of blood had worn off on the driveway so nothing was left? As to your theory that, in L.A. money is more important that race -- forget it. There would have be nothing better for these Simi Valley cops than to nail a rich, Africa-American. There are still a lot of unanswered questions about this murder. EDIT: Sorry Dan, the money more important than race idea was RDK's -- my bad!