etherbored

--- as for myself, i'll hafta think about that (and i will). most of the japanese vocalists i listen to sing in english... it seems to be a rite of passage in the scene. -e-

--- very true. in fact, this could open up a direction in the discussion of how mainstream and neo-classicist the scene really is (the whole avant and DIW thing there is very much a fractured schism IMHO)... -e-

---- kind of true, but that would also depend on your scale of measurement. swing journal's pieces are far more detailed and analytical than any magazine in north america that i'm aware of. jazz critique is published quarterly, filled more with text and analysis than graphics (compared to swing journal). generally speaking, each issue (which is the size of a typical paperback) is devoted to one general subject (say, the music of jimmy smith or jazz organ) which lends itself to being more serious from the outset. what does this all mean? i'm not sure, but i do know that jazz fans are far more rare in japan than you would think... regards, -e-

FWIW, i am wholly and completely immersed in the japanese scene. i used to live there, (i know sadao - even helped him with some english language promotions), travel there a couple times a year and subscribe to swing journal... now my cat is outta the bag. blue nippon, while being long on information (informations as the japanese like to say), is very short on fun readibility. it's textbook-like. a good thing or a bad thing? your mileage may vary. regards, -e-

thanks... for me, the challenge is avoidig lazy-ear and (this may sound bad) making myself spend time with sets i've not listened to in awhile. invariably, i find myself rewarded times two for taking the time. anyway, all the best, -e-

matt - surely you've been listening long enough to understand the inherent cyclical nature of our fickle ears. what we're jonesing for and hopped-up on today we may find boring as white bread tomorrow. but i think what's really telling is what happens the day-after-tomorrow when we're going the disatance with our respective collections when we take a break from frenzied collecting and cool out long enough to really focus on what we have. are we happy with what we have? do we seasonally return to what we have to listen anew to something that's been on the shelf for 5 or 10 years? with that having been said, this is just where i find the crowning glory of a mosaic box set to be. to me, these are document monuments for the ages. my mosaics are pieces that i may or may not be so high on initially, but eventually i can't think of any i have that i don't in one way or another find something to treasure more with each passing year. with this stitt package, i can't think of a set that a listener would be more prone to grow into and treasure for seasons to come. lastly, the thing of beauty about any mosiac set is that it's a sound financial investment. how often have you seen an out of print set sell for less than its initial cost? i dare say rarely. anyhow, sorry to ramble but it seems the things i find most rewarding in my own collection are the things that i've had to grow into and rediscover over the years. can one really have too much sonny stitt or roy eldridge or johnny hodges or donald bryd/pepper adams? these are the time proven stalwarts of the genre... peace, -e-

---- surely any work with oliver nelson can't be that obscure... it is my breath? -e-

this ain't a shabby title, either... i *love* wayne on it. -------------------------- -e-

--- indeed it is, friend... -e-

correct me if i'm wrong, but this is a very out of print set from 1984... ???, -e-

here's another plug. this time for south american cookin' with zoot sims! , -e-

--- a FINE record...!

---- i agree the timing is questionable, at best. given the liner photograph though, i'm also pretty certain that this project was in production prior to ray's passing. -e-

marcello - ordered burning beauty today... cheers, -e-

yeah, i'd say that's an accurate deduction... -_- no, not at all. don't take my comments to mean anything of the sort. my money's on the odds that batitista's not even aware of that recording...

more to the point, are you familiar with or appreciative of mendoza? -e-

oh hans, you are sooooooooooo right! what was i thinking? sorry! -e-

why not just post this? regards, -e-

--- the thing about the internet and newsgroups is that you can never understand the tone of a statement unless it's out and out over the top...which i certainly hope mine wasn't! my opinion about nelson isn't strong at all. it's just that i have 4 recordings in which there's plenty of vibrato. FWIW, i also *completely* agree with you about the recent holland double-disc set... now compare him with locke or milt, his vibrato may as well be vibrato-less. your point isn't lost on me at all. nonetheless, i'd be happy to take you up on your deal. recommend to me a locke recording, outside of that 4 walls project... regards, -e-

--- t h a n k you! -e-

btw, it just hit me that to refer to steve nelson as vibratoless means you've heard little solo nelson... FWIW, -e-

---- they may be in the process of forecast revision now...? -e-

---- wish i had a buck for every story like this... right the hell on! -e- ps: i completely agree with the earlier post on their brazilian titles. my collection has grown *substantially* (exponentially?) in the last few years as a result.

---- oh the rich irony... -e-

yes, i've had this for 3 months now and really dig it. i also have his previous release, round about roma, arranged by the brilliant vince mendoza. , -e-