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Best Monk cover ever?

2 CD set CDs, booklet Mint Minor shelf wear to outer sleeve M- https://www.discogs.com/release/3304673-Pink-Floyd-Wish-You-Were-Here-Experience-Edition $25 shipped U.S.

Every time I see Artie Shaw I think of Elaine from Seinfeld guessing Next Stop Pottersville to get Mr. Pitt the win at Thanksgiving. Elaine would have been hell on a blind fold test.

To be honest, the OG two LPs are the highlights, enough for all but the hardcore ((for whatever reason) listener. But those two albums are not to be denied! And notice I said "denied", not loved or understood or any of that other emo crap.

So reading the blurb on CDJapan: Regarding the reissue:. *The original analog master from the MOSAIC RECORDS 10-LP BOX release in 1995 was used (due to the whereabouts of the master from the US CD production, which is almost equivalent in content, being unknown). *The mastering was done using the above analog master digitized to 192KHz/24bit and converted to DSD, realizing the world's first SACD hybridization. *The CD layer also uses the latest remastered sound sources. *Mastering engineers: Koji Suzuki and Kaoru Ishibashi (Sony Music Studio) *Includes 10 tracks that are 1 to 2 minutes longer or 9 minutes longer than the first domestic release (the first complete domestic release). *New commentary by Takao Ogawa; 16-page booklet in English, with Japanese translations of each disc's booklet. *Stereo recording So is this a new mastering then, one that uses the Mosaic master? Reads like that to me but correct me if I'm wrong there.

from Jan Evensmo's solography - here's the choice of material from those various dates LESTER YOUNG QUARTET - NYC. Jan. 20, 1951 Personnel as Jan. 6. Neenah As Jan. 6, but 5 choruses. (F) Ghost Of A Chance Solo 48 bars to coda. (S) Lester Leaps Again As Jan. 6, but 4 choruses. (F) Up And At'em As Jan. 6, but incl. start and 7 choruses. (FM) Jumpin' With Symphony Sid In ens 12 bars. (FM) LESTER YOUNG QUARTET - NYC. Feb. 24, 1951 Personnel as Jan. 6 except unknown (p) replaces Lewis on this session only. Up And At'em As Jan. 6. (FM) These Foolish Things Solo 48 bars to long coda. (S) Neenah As Jan. 6, but 6 choruses. (F) Lester Leaps In Solo 4 choruses of 32 bars. Solo 8 bars. Solo 16 bars to coda. (F) Jumpin' With Symphony Sid Solo 4 choruses of 12 bars. (FM) LESTER YOUNG QUINTET - NYC. May 19, 1951 Jesse Drakes (tp), Lester Young (ts), John Lewis (p), Gene Ramey (b), Jo Jones (dm). WNEW broadcast from Birdland. Indiana Solo 5 choruses of 32 bars. 32 bars 4/4 with (dm) to 32 bars 4/4 with (tp) to coda. (FM) Ghost Of A Chance Solo 48 bars to coda. (S) How High The Moon With ens and acc. (tp) to break and solo 3 choruses of 32 bars. 32 bars 4/4 with (tp) to coda. (F) D. B. Blues Solo 2 choruses of 44 bars. (M) LESTER YOUNG QUINTET - NYC. May 2, 1952 Jesse Drakes (tp), Lester Young (ts), Wynton Kelly (p), Aaron Bell (b), Lee Abrams (dm), Jo Jones (dm-guest appearance). NBC broadcast from Birdland Up And At'em As Jan. 6, but 6 choruses. (FM) 'Deed I Do Solo 4 choruses of 32 bars. 32 bars 4/4 with (dm). 32 bars 4/4 with (tp/dm/ens) to coda. (FM) How High The Moon With ens and acc. (tp) to break and solo 3 choruses of 32 bars. With ensemble 32 bars. (F) Pennies From Heaven Solo 3 choruses of 32 bars. (FM) thanks Marcel

Oh wow. THAT'S dumb! What it boils down to is that everybody is entitled to their opinion, but not all opinions are equal. And if somebody has an opinion rooted in ignorance and not at least a little bit of awareness, then I feel no obligation to respect it or (depending on how hungry I am) quietly tolerate it. Silence = death, eventually.

I saw some live Chinese opera some years ago and that was wild. I had no idea what was going on. If I ever see it again I hope it's with someone or some kind of resource that explains it. Jarring, for sure. And not something I've revisited since, but something that I could see had depth. Kind of in that neighborhood, this Plugged Nickel set has always been a challenge for me to listen to. I don't seek it out either. I'm on the fence for this CD set.

Jim, that is a really dumbass attitude. Sorry but true. Your argument boils down to if somebody doesn't understand this music the way I do, they are stupid, insensitive clods. Brilliant Jim, and dumb.

Of course not. I understand the basics, but that's it But I would never call it "noodling" or some such. Never. Because that's just ignuntass bullshit reflective of an ignuntass worldview. Period. A little bit of that goes a long way, and there's been more than a little bit of that for way too long. You can't expect anybody to like something, but the other side of that coin is that ignorance should not expect to go unchecked.

Yes, the perception was based on ignorance. Congratulations, you understood what I was trying to say! How about you? If you listen to northern Indian classical music are you able to pick up all the nuances? Do you understand the different sections and different rhythmic breakdowns of the piece? Are you able to appreciate it as well as somebody who is into that? (Or substitute any other music form which you don't happen to be familiar with). I'm pretty sure there is some music somewhere which will sound like nothing to you and fail to do anything for you and you will think to yourself it all sounds like much of a muchness - ie noodling. Not because you are unthinking or the music is bad, but because you have no background. Peking Opera. Music in Japanese drama.

Now why would I do that? I decided decades ago tonir be that type of listener. I don't know if this is just an "American" problem, but music education requires critical thinking, and critical thinking has been disappearing across the board for decades now, and "pop music" has led the way. You know, you can enable programmed ignorance for so long before...never mind And btw - this has nothing to with individual taste Quite the opposite. It's about the refusal to develop any. Pop is not the enemy, the pop audience too often is. And btw, by your definition the perception of "noodling" is based on user ignorance. Q E.D. Speaking deconstructing Stella, that was underway before Plugged Nickel:

Why are you always picking fights with me? I'm not making this up. I'm done with this Board. Bye everyone.

Well Jim I disagree completely. If one has no structure upon which to hang the sounds coming at you, if you are unable to anticipate anything or see any regularity or pattern, it becomes noodling. It can't be that for me because I have a background from listening to this music. But it absolutely can for someone who doesn't recognize what tune it is, when the piece ends and repeats, what the musicians are trying to do etc. They have no way to organize the data they are receiving. I recommend you listen to the set for a few minutes and place yourself in the position of a pop music listener who has never heard the tune.

Haden was my knee-jerk idea for the bassist on #12, but I have only three of his piano duet albums and this track isn't on any of them. Too early to sleuth, but the pianist reveal will be interesting.

That's much better than I usually do. Guessing Haden was an absolute dart throw. Will be interesting to find out who the pianist is. Interesting the Gonsalves track as well. I've only listened to him a few times, mainly via Ellington. Webster was the only other one I could think of for this song, but I was far from 100% on that guess.

I know very well what they are doing. It's not the band's fault if pop audiences can't hear past the nose on their face. That's the result of decades of audience narcissism and industry cynicism playing into it. Besides, even if you don't know "the tradition", if all one hears is "noodling" and not something...different, then one is not entitled to have their opinion taken seriously. This i do believe.

To elaborate on that, the band is playing mostly standards like Stella by Starlight, Green Dolphin Street, etc, but they are deconstructing these tunes, trying them with different tempos and rhythms, playing with the structure, ignoring the melody, etc. But if one does not have even a passing familiarity with Stella by Starlight, how is one to interpret this performance? Very differently from someone aware of the tradition.

Thanks, I'm in on eventual CD.

Thanks, I'm in on eventual CD.

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Another November RSD release Seek & Listen: Live at the Penthouse is a never-before-released recording of the luminous multi-instrumentalist Rahsaan Roland Kirk recorded live at the Penthouse jazz club in Seattle, WA on August 12 and 19, 1967 with pianist Ron Burton, bassist Steve Novosel and drummer Jimmy Hopps. Released in cooperation with Kirk's widow, Dorthaan Kirk of the Rahsaan Roland Kirk Estate, the infectious music on this release was originally recorded by radio DJ Jim Wilke for KING-FM radio. Transferred from the original tapes and restored and mastered by Matthew Lutthans at The Mastering Lab, Live at the Penthouse was pressed at the respected audiophile pressing plant Le Vinylist in Quebec, Canada. The limited-edition 180-gram 2-LP edition includes an extensive booklet with rare photographs from Jan Persson, Tom Copi, Raymond Ross and others, newly-commissioned liner notes by authors John Kruth and May Cobb, and interviews and testimonials from saxophone icons James Carter and Chico Freeman, trombonist Steve Turre, Dorthaan Kirk, Adam Dorn (son of long-time Kirk producer and champion Joel Dorn), and others. Tracklist SIDE A The Jump Thing (1:18) Alfie (5:22) Mingus-Griff Song (12:12) SIDE B Duke Ellington Melody: Everytime We Say Goodbye, I've Got It Bad (And That Ain't Good), Sophisticated Lady, Satin Doll (14:31) Bagpipe Melody/Happy Days Are Here Again (8:14) SIDE C Ode To Billie Joe (12:22) Prelude To A Kiss (7:50) Funk Underneath (4:59) SIDE D Lovellevelliloqui (7:12) Now Please Don't You Cry, Beautiful Edith (7:57) Making Love After Hours (4:29)

RSD release November 28, 2025 Vibrations in the Village: Live at the Village Gate is an ultra-rare recording of the brilliant multi-instrumentalist Rahsaan Roland Kirk recorded live at the hallowed Village Gate in New York City, New York on November 26, 1963 with pianists Horace Parlan, Melvin Rhyne, and Jane Getz, along with bassist Henry Grimes and drummer Sonny Brown. Released in cooperation with Kirk's widow, Dorthaan Kirk of the Rahsaan Roland Kirk Estate, this music was originally recorded for a documentary film on Kirk that was being made. After the concert, the filmmaker passed away, and the tapes remained tucked away with the original recording engineer in storage for the next 62 years until now. Transferred from the original tapes and restored and mastered by Matthew Lutthans at The Mastering Lab, Vibrations in the Village was pressed at the respected audiophile pressing plant Le Vinylist in Quebec, Canada. The limited-edition 180-gram 2-LP edition includes an extensive booklet with rare photographs from Jan Persson, Tom Copi, Raymond Ross and others, newly-commissioned liner notes by authors John Kruth and May Cobb, and interviews and testimonials from Jane Getz, saxophone icons James Carter and Chico Freeman, trombonist Steve Turre, Adam Dorn - son of long-time Kirk producer and champion Joel Dorn, and others. SIDE A Jump Up And Down - Fast (15:34) Ecclusiastics (5:52) SIDE B All the Things You Are (7:33) We'll Be Together Again (7:43) SIDE C My Delight (12:37) Baritone Oboe Blues (10:20) SIDE D Termini's Corner (6:28) Falling In Love With Love (5:44) Three For the Festival (6:09)