JETman

Timmons wasn't exactly an 'in yo face' type player either!

Number 390 safe and sound.

That sounds good! Any recordings due? I've never been a big fan of Taborn's going back to his days with James Carter. He seems to be highly in demand these days, though.

I'll be receiving mine today.

Live At Birdland Paul Motian SKU: 602527369877 Shipped, May 09, 2011 Tracking # I give up. I'm not doubting that you received it. I'm just saying it's a possibility that some defective ones leaked before the error was discovered. It's not like that hasn't happened before

Me too. But not until June 7th. ECM USA advisd me that the release date was pushed back due to a manufacturing defect. LWayne You sure? I got my copy from Borders last week. I like it. The June 7th date is posted on the ECM facebook page as well. LWayne I have it sitting beside me on the desk as I type. I loaded it into iTunes last week. I don't know what else to say. I know I'm not dreaming. I've listened to it three times. My guess is that you have one of the defective ones that leaked out. where's the defect? It plays fine, the booklet is in good shape....why are people having such a hard time believing that it's out now? Has anyone else actually tried to order it yet? I've ordered it from CD Universe and it's not in stock yet. I don't know what the defect is. If you're not hearing it, maybe it's a subtle one.

Just wondering why you'd sell a cd you have in anticipation of a later version being released???

Me too. But not until June 7th. ECM USA advisd me that the release date was pushed back due to a manufacturing defect. LWayne You sure? I got my copy from Borders last week. I like it. The June 7th date is posted on the ECM facebook page as well. LWayne I have it sitting beside me on the desk as I type. I loaded it into iTunes last week. I don't know what else to say. I know I'm not dreaming. I've listened to it three times. My guess is that you have one of the defective ones that leaked out.

While I would most certainly like to agree with you (I am a New Yorker, after all), I have to say that your statement falls extremely far from the truth. Even when you add in former Muse dude Joe Fields' two labels (High Note and Savant), the music released on these labels just smacks of "rehash". Kenny Werner is a wonderful musician, and this record is great, but one great record does not a label make.

This double cd looks interesting: UCCJ 3027/8 Corea,Gomez,Motian/Further Expolorations 3500 It's a tribute to Bill Evans. At close to 70, Chick's still one of the most vital musicians on the planet, I say!

If never on Friday, how 'bout on Tuesday??? I believe you meant "moot" and not "mute". Seriously, though, why all this debate over a cd that will be lucky to get one or two views over the next quarter??? It's jazz after all. It doesn't sell, and nobody likes it. I know we'd like to believe otherwise, but the music industry, as we once knew it or now fantasize about it, is DEAD.

Really??? Last I listened, Bags did not need John Lewis' help to become the modern master of the vibraphone.

It's 7 cd's of Milt Jackson, ferchissakes! Would you be having the same problem with 7 cd's of Booby Hutcherson???

I love all Ella. Having said that, this is not amongst her best.

Again, not all of the Why Not's are CD's. Maybe Britain just doesn't like me!

You are incorrect, sir. I've bought many of them since the beginning of the reissue campaign, and a few were CDR's. I do not remember which ones, though.

I think the Japanese version is the only one with the bonus tracks. I picked it up maybe 6 or 7 years ago.

That's a completely irrelevant point. Mosaic (or any other label) can deal with promo/review copies in any way they feel is appropriate. And why should jazz reviewers be treated differently from any other music reviewers? You may disagree with the policy, but promo/review copies have been a way of "doing business" for decades now. And what's so hard to understand about being a "jazz journalist?" It's someone who makes a living - or just does it for kicks - writing about jazz music and the musicians who perform it. My original point was that ALL music lovers should pay their own ticket. Period.

I guess I feel that if one did write a review, then one is entitled to a free copy. I've never reviewed CDs, but have reviewed about a dozen academic books over the years, nearly all of which involved getting a free copy. Now it may be a different story being sent a copy by the company in the hopes one writes a review and then no review materializes. (Not casting aspersions on anyone on this board, just saying it does happen. For that matter, I am super-overdue on one book review, and maybe I should just buckle down and wrap it up. ) There are reviewers who do so with the sole purpose of getting media for free. That being said, sales of jazz music are not affected (even in the least) by reviews. So why do record companies continue to comp these people? Never, ever in a million years has a good (or terrible) review affected sales? I've know I've made purchasing decisions on the basis of reviews, so it must have been my evil anti-twin buying or not buying the same CD to keep the universe in balance. In jazz, we're talking about less than 1% of the music industry's profits, ok. I have NEVER bought a cd based solely on a review. My ears are what I trust most. Additionally, have you ever read a negative review on a jazz site (AAJ, etc.)? That, in itself, is a form of "pay-off". I've learned to be very wary of situations where "pay-off" (conflict of interest) is a real possibility.

I guess I feel that if one did write a review, then one is entitled to a free copy. I've never reviewed CDs, but have reviewed about a dozen academic books over the years, nearly all of which involved getting a free copy. Now it may be a different story being sent a copy by the company in the hopes one writes a review and then no review materializes. (Not casting aspersions on anyone on this board, just saying it does happen. For that matter, I am super-overdue on one book review, and maybe I should just buckle down and wrap it up. ) There are reviewers who do so with the sole purpose of getting media for free. That being said, sales of jazz music are not affected (even in the least) by reviews. So why do record companies continue to comp these people?

Am I the only one that believes that being a jazz journalist (whatever the hell that means) does not entitle one to receive their music for free? As someone who has paid for ALL of my music (and believe me, there's a ton of it), this just rubs me the wrong way all the way around.

I was set to order these: Tony Aless with Seldon Powell ____________ Tony Aless & His Long Island Suite Clare Fischer ____________________________ First Time Out Clare Fischer ____________________________ Surging Ahead Jim Hall/Red Mitchell/Red Kelly __________ Good Friday Blues John Handy III ___________________________ No Coast Jazz Junior Mance _____________________________ Straight Ahead Les McCann & The Jazz Crusaders __________ Jazz Waltz Charlie Persip & His Jazz Statesmen ______ Double Or Nothin Specs Powell _____________________________ Movin In Joe Puma _________________________________ Joe Puma -- Quartet & Trio -- Jazz Jerome Richardson ________________________ Going To The Movies Frank Rosolino ___________________________ Frank Rosolino Bud Shank ________________________________ Barefoot Adventure Clark Terry/Coleman Hawkins ______________ Eddie Costa -- Memorial Concert Randy Weston _____________________________ Music From The New African Nations Featuring The Highlife until I realized that I already had the 2 Fischer's, the Shank, the Rosolino and the Weston on Mosaic or Mosaic Select's. So I ordered the remaining 10 on the list from Dusty Groove.

There isn't --- not on the cd anyway.

Is anyone buying the new Hip-o-Select 4 cd Creed Taylor Impulse collection just for these 3 tracks, which total about 8 or 9 minutes?

I am REALLY curious about your obsession with Burt and Angie. Do you wish we were still in the 70s??? Live in the moment, will ya? That being said, there are dozens of producers who know more about producing a good record (not just jazz) than Creed Taylor. Just as an example, there's this German guy who is more interested in producing a variety of music that is mostly of the high quality variety. Creed's Verve and CTI records, to my ears, do NOT hold up well and have not stood the tried and true test of time. His Impulse records are a much greater achievement, and sound like they they could have been made today.