David Ayers

I hope that Mole Jazz gets a chapter of its own!!

And there you have it. That's why everyone who can afford it has jumped all over the mono box.

Oh I mean I find the soul jazz idiom much-of-a-muchness, and with one horn then yeah after a while you know where you are pretty much, which is why I'm not hungry for the extra tracks. I was about to write 'I'll probably pick up the box eventually' but as we now know that is a dangerous sentiment...

That's the man! I just hope the police can free that hostage he's abducted.

I'd say the Tolliver material is a chunk of music you'd want to hear. These sessions really have a lot of life in them. I guess in the end they are musically limited which is why I didn't replace the copies I already have with the Select. I'd say that if you ever were interested in Woody Shaw then you might also enjoy this Tolliver. I agree that other of these Selects are really for collectors and can be happily let slide. My problem with the series was that I already had the key material on those sets which interested me, much of which has been easily available for some time.

Here's the rub though. These remasters rebalance the originals. It's a bit shocking to hear so much of the drumming. That satisfies a certain audiophile point-of-view. I'm not sure myself though I'm getting used to it. What I will say though is MONO. How gutless most of those stereo jazz remasters are...

It's easy to get bored with music (a lot of it isn't much good), but what is there that you'll just pick up to put a smile on your face? You know, you can see its limits, you got a lot already, but, aw shucks, it's .........................[enter name here] Now for me, I've got, had, or otherwise worked through a lot of stuff, and in a way there are few mysteries. So no new Blue Note or Select can really get me going, and all the major historical currents in jazz are well known to me. For me the one thing that always entertains me is a new Peter Brotzmann CD. Why that is I just don't know. Maybe an Evan Parker, maybe a Derek Bailey - just occasionally - but more than these my musical comfort food is Brotzmann. Everything else can sit on the shelf, I don't buy much any more, but the occasional Brotzmann - always sweet... So what's your real soft spot? You've got a 20 in your pocket to last all day, and there it is on the shelves... you can't say no.

Let us know when you're sorted. Then we can change the title of this thread from 'Bad News form Mosaic' to 'Good News from Zurich'. Shut up and get in the car! Heh heh!

Let us know when you're sorted. Then we can change the title of this thread from 'Bad News form Mosaic' to 'Good News from Zurich'.

That Mosaic Contemporary website is just bizarre. They'd maybe have done themselves a favor with the Braxton to exclude the Four Orchestras thing and sell it as a snappier, easier-to-shift 6 CD set. I agree about the big-name big boxes, though not about Selects which I can't quite be bothered with. The big boxes suffer a little in some cases from incompleteness, which annoys collectors, and in some cases from the terrible booklet texts. But when big-name sets come out they go on everybody's wishlist, and, as you say, unlike George Wein, that is a huge plus.

In this house, 'Amy' would be the Winehouse. I had to do a double-take! Now Back to Black is a really good set.

In my interpretation, it would depend whether Sony imported them. The payments due to musicians in the U.S. would be higher than in Europe due to copyright expiration. I'm not sure about the music publishing rights which are of course the greater part of this. This is the same phenomenon that makes 'Andorran' releases legal in Europe but not in U.S. However if Sony were importing the items themselves and squaring the payments then matters sould be different. I am guessing, I suppose, that this is why these titles were issued only in Europe. With European copyright law changing and that set disappeared I guess it is pretty academic.

I think the thing with this set is there are some floating around, but obviously amazon or anything like that is useless. I agree that a full set would be welcome, and less of a gamble for Mosaic than projects by lesser-known musicians.

I guess most folks already have the 2008 Euro-Sony Original Masters Ellington 1932-1939? Those are 'gray-market' in the USA for exactly the same copyright/royalty issues as affects 'Andorran' imports or 'Euro-Mosaics', so some may have scruples. If you can find one though they are dirt-cheap and well worth a few $$$ investment as a bulwark against the non-emergence of the proposed Mosaic 10CD epic.

The stereo versions of both Help! and Rubber Soul in the Mono box (which are added to the mono CDs) have the original 1965 mixes, while the individual remasters and the ones in the Stereo box have the 1987 mixes. Long story... There are hundreds of threads (well, at least it looks that way ) about everything concerning these Beatles remasters on the Steve Hoffman forum. Yeah, but some of us don't want to go there! My thoughts exactly.

Well I am waiting on a box, but I saw the individual digipac issues in the supermarket this morning. If you like digipacs you might be in for a treat, but I don't and didn't like the packaging much. These are double gatefolds, with original cover art and additional photopgraphs. There is a leaflet inserted in the front cover, the inside gatefold has a large D-shaped cutaway to aid handling (?). It would be dumb to be put off by the packaging; I am hoping the box is better.

Thanks guys! Most interesting. The fact that Force and Long March come three years apart might or might not indicate a continuing interest in Mao. By 1979 the phrase 'Long March' might have come to seem as much jokey as anything else.

What's going on with Roach/Shepp and Mao? I got the Maoist reference of The Long March, but I wasn't even aware of Force, and I hadn't clocked that Roach/Shepp were in any way identifying with Maoism. If indeed they are.

I'm gonna chain myself to - er, something - until Universal release a remaster of Om, preferably on SACD. 'erbs of ealing' rule ok! Free the spirit!

Oldies but goldies. Go for it!

I guess my own feeling is that supporting issues of new music by current artists is the priority. Reissues are for collectors, the music is already out there anyway, and the artists are often dead so hardly needing a career boost...

Why so cagey? Terrific musician. I guess he basically abstracts kinds of dissonance which are familiar from all sorts of music, and also abstracts typical rhythmic phrasings, then removes the rest. Pretty good really though I have no idea how organised it all is. Usually to get away from cliche you have to be very organised indeed.

Problem for me, as I have a dispute with local UPS who I consider lazy and incompetent after they failed to deilver an important document and told me a pack of lies about what happened, then refused to deal with my complaint. For me UPS are garbage and I will never use them again.

Not for me. I find his later ventures rather ponderous.

Sure it's real. It's got an amazon sales ranking!