Stereojack

I've got to agree, as much as I do love the album with Dolphy. Bill Evans did some of his most adventurous playing on Russell sessions, and Art Farmer and Don Ellis also shone.

This still is most likely from a WGBH program entitled "Jazz" which ran weekly for a year or two in the mid 1960's. Each week the program, which was hosted by Herb Pomeroy, featured a jazz artist, usually someone who was appearing at one of the local clubs that week. I saw many of the programs, and managed to make audio tapes of several of them, although I do not have the Grant Green program. I believe Grant may have been appearing at Estelle's that week. Steve Schwartz (WGBH jazz show host) and I (former WGBH host) have have had conversations about the program, and after many inquiries, concluded that no video of the show survives, and that only a handful of audio survives. It's possible that the show was aired live. Among the people who appeared are Roland Kirk, Freddie Hubbard, Elvin Jones, Charles Lloyd, Kenny Burrell, Art Farmer, Illinois Jacquet, Carol Sloane. I can also remember seeing (but not taping) Sonny Rollins and Thelonious Monk.

Since thay have chosen to eliminate most of the vocals (except those by Billie Holiday, Hot Lips Page, Lena Horne, and Roy Eldridge), why was it felt that Tony Pastor's vocals should be included? I've got nothing against Tony, mind you, but is he somehow better than Helen Forrest and the various female singers who sang with Shaw 1940-1945? As has been pointed out, many of the tracks with Helen Forrest also feature fine playing by Shaw and others. I think I can pass on this set, since I've got it all elsewhere, except for a few alternates.

I picked up the Zeitlin set last month, and along with it was given a replacement booklet which corrects the reversed cover of the original booklet which is sealed inside. I've owned the 4 original LP's for decades, and was really psyched to hear the additional hour of music that is included. Highly recommended! Zeitlin made his first appearance in Boston (ever, I think) last year. He is still playing magnificently.

That was great! Thanks.

That "granny" is his mother! Great album, btw.

Have a great one, Lon!

The shelves will probably support the weight. My fear is that the casters may collapse or break, or they make dig holes into the floor. Records are very heavy!

It wasn't a dream, dude, it's true. When are you coming in to check them out?

Again, not a male vocalist, but Jean Carn had a nice version.

James Moody's Blue Note date with Chano Pozo. Not sure how it's available currently.

When it comes to music industry stupidity, there is truly nothing new under the sun. They've been pulling essentially the same dumb stunts over and over for many decades. The action in the 1940's actually stemmed from the musicians' union, calling a strike against record companies. The union felt that radio and jukeboxes were taking work away from live musicians, and they felt that record companies ought to compensate musicians for airplay. They won, and to this day, radio stations are required to pay licensing fees to music publishers and to the union. I'm not sure how the jukebox issue was settled, but I'll bet it's a similar deal.

A kick-ass Stitt session!

Recorded May 23/25, 1967, NYC Art Farmer (tp/flgn), JImmy Heath (ts), Cedar Walton (p), Walter Booker (b), Mickey Roker (d). From the same sessions that produced "Art Farmer Plays the Great Jazz Hits" (Columbia), one of Art's most forgettable records.

I can see the resemblance, but I believe that is organist Perri Lee, who plays on the album.

Elijah Wald is a knowledgeable and informed writer. The title of the book, I suspect, is not his, and I believe that is is mainly geared to stir up controversy like it is doing here. I haven't read the book, but I'd be willing to bet that he makes many interesting points about the develpment and demise of rock & roll, especially since what came after the Beatles came to be known simply as "rock", a music in many ways different from the roots music of the 1950's.

I'll admit to a fondness for the Ventures. I was a big fan in high school in the early 1960's, and they were great until the devolved into a cover band.

A truly great musician, and held in especially high regard here in Boston, his home town.

Saw the Ike & Tina Review at Harvard Stadium in 1970. Had very good seats, and it remains one of the most exciting and memorable shows I've ever seen. Ike and the very tight band opened with a few instrumentals, and when Tina and the Ikettes hit the stage, the whole audience was on their feet and stayed there!

I've got the Chu set, and I find that the volume level is too low. The sound is very good - rich and warm, with plenty of detail, but I have to turn the volume up significantly to match the usual level at which I listen. I mentioned this to Scott Wenzel of Mosaic and he said that nobody else had mentioned this, which kind of surprises me.

I have the Clark bio - a very interesting read. A great talent, never fulfilled due to personal demons. Fortunately, in addition to his official releases (mostly very good), there's a lot of "grey" material floating around. My favorite period of the Byrds is the original 5-man lineup with Clark, although I do have a fondness for "Younger Than Yesterday" and "Notorious Byrd Brothers".

Sounds like an amateur group to me - definitely NOT Bird!

There is a series of single CD's on the Hep label that covers these sessions in chronological order, nicely remastered by John R. T. Davies. The vocals by Billie Holiday and others are included along with the instrumental sides.

I was first introduced to these sessions when they were scattered over several LP's in the 1960's. When the Bluebird box came out, I was all over it. LIke others here, I haven't seen any need to go for the Mosaic. That said, I'd consider it essential listening for anyone interested in small group jazz of the 1930's. Yes, Chuck, not every date is a masterpiece, especially as we get to the later sessions, but I'd say the overall the level is very high!

Ornette was on Atlantic. The others are all Sony/ Columbia, and these are part of their Legacy bells-and-whistles reissues. Odd that they've made Sketches part of this batch of reissues, when KOB was the album featured in the program. Eh, any old tie-in will do, I guess. I've asked this before but.... with an even more super deluxe reissue of Time Out, how come the alternate single take of Take Five has still not been included? I've never seen it listed in any discographies and it's never, to my knowledge, appeared on any CD. Is the single version a different take, or merely an edit of the LP version?