Stereojack

There is definitely a pressing flaw on this one - I've had several copies over the years, and they all had the same locked groove. Finally I gingerly leaned on the tone arm and forced the needle through the passage, and after that my copy has always played fine. I used to call this a "tight groove". I've encountered it on other records as well.

Sorry, I though he was in BS&T. Well, that was my point. His version may suck, but his is the original.

Except that the song was written by David Clayton Thomas.

I seem to recall that there was a release of her Monterey performance on the Blackhawk label in the 1980's.

Fascinating, and very striking! Thanks for posting.

Did I sound like I'd want to do THAT? Otherwise, I agree with your comments about the value of the material included on Hep reissues, for example, as a probably better starting point for somebody who'd start from scratch. I kinda took it that way, but I probably overreacted.

All of the previous Storyville boxes, to my knowledge, were compilations of material previously issued on Storyville. I'm familar with most of the Wilson previous releases, and would not consider any of them to be essential. Since the death of (Storyville founder) Karl Emil Knudsen, the company seems content to repackage the catalog in this way.

O.K., thanks for the confirmation. As I have not been able to find a track list during an initial search, I take it from what you say that the set has a fairly large share of later recordings? My comment was a general one about the probable value of this set, not a specific review. I think Chuck has expressed enthusiasm for some of the music that Storyville has issued in the past, and I have assumed that much of it will probably be on this set. That said, I am less than enthusiastic as to whether one who has no Wilson would find this to be a good introduction. A better introduction would be the Hep series that contained his complete 1930's sessions (as leader), the Benny Goodman small group set that RCA compiled a few years ago, or the aforementioned BG Quartet reunion date to represent his mature years. I have no doubt that a lot of fine music can be found on this set, but I question just how essential much of it is. If I gave the impression that I have specific knowledge of the contents of this set, that was not my intention. As a long time Wilson admirer, I was merely offering an opinion as to any set of this nature would be a good introduction. If you want to hold my feet to the fire for speaking out of turn, so be it.

Thumbs up from me as well!

Wilson was great in the 30's & 40's - got a little sleepy in later years. This set appears to be a mixed bag. One of his finest later performances was with the Benny Goodman quartet reunion, recorded for RCA in 1963. In which respect do you consider this to be a mixed bag? I guess a lot of his prime leader dates of the 30s/early 40s have been reissued a zillion times (e.g. his big band on Tax and elsewhere, his small grups on various CBS twofers) but what exactly is there on this set that would be exceedingly hard to come by elsewhere among his earlier work (even for those who've been collecting for quite some time)? Or is it just there are too many of his later dates that you find "sleepy"? (I see what you mean, though - beyond a certain dose polishedness, politeness and gentlemanliness can be a bit too soothing). I think you've answered your own question. I'm not saying that Wilson ever played badly. It just seems that many of the later dates are perhaps a little low key for my tastes, compared to the brilliant playing he displayed in his younger days. Of course, this hasn't stopped my from acquiring most of them over the years. I was answering the original question as to whether this new set was worthwhile as an introduction to Wilson, and I think not.

Wilson was great in the 30's & 40's - got a little sleepy in later years. This set appears to be a mixed bag. One of his finest later performances was with the Benny Goodman quartet reunion, recorded for RCA in 1963.

This may be tough for Mosaic to pull together, as they would have to draw from at least four labels to gather it all: Drumfusion (Columbia) A Different Journey (Reprise) Passin' Thru (Impulse) Man From Two Worlds (Impulse) Transfusion (Studio West) I agree that these are all fine records, and would make an excellent set. The last one consists of short tracks recorded for the US Navy, and first issued in the 1990's. Perhaps not as essential as the others, but interesting. Lloyd is also on Chico's previous Columbia LP ("The Chico Hamilton Special"), but the format is closer to the old Hamilton group, with cello and no Szabo.

I've got the LP. It is quite clearly a Boris Rose production, probably from more than one broadcast. I suspect that Boris may have supplied these to Max to sell at his gigs. Mine is also autographed, dated 1979.

I just live this picture!! I wish i could find something with Gibbs and Pollard playing together! in the meantime i am spinning Terry Gibbs plays the Duke (1957)! Check this out:

I had the good fortune to interview Joe on the air back in the early 90's. I found him to be somewhat low-key, reasonably friendly but not effusive, and willing to answer in detail all of the questions I asked him about his career, his records, and his stints with Horace Silver and (briefly) Miles Davis. One thing I do remember is that he chain-smoked through the entire interview, and I was too chicken to remind him that smoking was not allowed in the studio! My one regret is that I did not tape the interview.

Time to change dentists!

Typically, the music was prerecorded, and the musicians pantomimed to the track. This was standard procedure in those days, mostly to allow for multiple camera setups. It sounds like Roy on trumpet to me. Was the switching of instruments some kind of inside joke, maybe?

I suspect that the deal with "No Room For Squares" is that the 3/7/63 date, as great as it is, did not contain a funky "juke box" track, so the decision was made to spread the session over two LP's, each of which contained material from other dates. Hence, NRFS contains 2 tracks from the 3/7/63 date, and four tracks recorded 10/2/63, including the funky "Me 'n You". The next album, "The Turnaround", contains two more tracks from 3/7/63, plus 4 tracks recorded 2/5/65, including the prerequisite funky track "The Turnaround". All of this was sorted out in the 80's, when the remaining tracks from these dates were issued on "Straight No Filter" and on CD versions of of all 3 albums, with each session contained in its entirety in one place for the first time.

Red Camp also accompanied Lizzie Miles on several of her Cook LP's.

Amen! But it was Ross' star power that got the film made.

Neal was one of the greats, no argument, but it was Anne Bancroft in "The Miracle Worker"

I have seen George blow the roof off the joint on more than one occasion. His mastery of chord changes has brought criticism from some corners, but he's got a unique style and it's sad that he seems to be losing it. Let's hope this is just temporary. That said, I just head James Moody's latest on IPO, and at 83 Moody still sounds fine. Perhaps a little more subdued than before, but still able to muster up a fair amount of heat.

No original or witty comments to pass on, but a sincere wish for a happy birthday!

I like the two Steeplechase albums with Dexter Gordon. These are live and loose, but there are many fine moments.

This trio and the group in post #4 look like aliens from another planet to me!