Ted O'Reilly

Well, in fact the content IS the Mosaic, with performance recordings added, right? Well, it's kind of the opposite. The Mosaic was a compilation of THIS material. Mosaic didn't have any live recordings except Escape Velocity. Plus, this material has been remastered, there's bonus material, new notes, new photos, and new artwork - as with all of the current Columbia Boxsets. This is the product line: http://popmarket.com/features/25809191 New package altogether. I'm not trying to belabour this, but packaging aside, it's the same content as the Mosaic, with ALL of Stepping Stones (even previously unavailable tracks) added? I didn't get the Mosaic, so I'll be getting this one, but that popmarket link doesn't show anything about the Shaw release. How do you come by the details? Are you working on the project in some capacity? Inside info is always welcome!

Seems like they'll need Walter Cronkite and a CBS crew... "What sort of a day was it? A day like all days, filled with those events that illustrate and illuminate our times. And YOU WERE THERE!"

Well, in fact the content IS the Mosaic, with performance recordings added, right?

"Field Recordings"... Love it. The hands come in from the cotton fields after a hard day of pickin', and make music around the campfire at night... SHEESH!

...and I don't know about the Hollies.

Wow!! NOT WORKING like that for me. I just bought a new computer from Dell. Windows 7 Latest IE browser. Interesting. I don't know why but when I click on multiquote it does not turn green but immediately takes me to the add reply box instead. I would prefer your experience I think Me too... Windows 7, IE browser.

Saw this on another jazz blog recently. Anyone have any idea what might be on the bonus disc of unreleased material? Might this not BE the Mosaic box, released by the content owner, Sony? It would have been simply leased to Mosaic for a specified period. Now, the rights have reverted to the owner. With the technical work done, Sony can release it without much new expense, just packaging costs. I don't have the Mosaic, but maybe the mastering was done by Sony people in the first place? Can someone look that up? As to 'unreleased material', could the reference be a bit outdated, and refer to content that wasn't out before the Mosaic set's issue? (And I disagree with the first poster -- considering EVERYTHING, I don't find Mosaic prices *ridiculous*.)

It's unlikely in a concert hall, but I remember being amazed at the audacity of a large number of "fans" at the outdoor Nice Jazz Festival back in about 1979 with amazing setups in front of the stage. Each guy had several high-quality mics, little mixing boards, headphones and top-quality cassette machines (battery powered, all) set up in the front row, collecting his own recordings. Most of the artists simply shook their heads and played on, but I recall Sarah Vaughan looking out, and refusing to go on-stage until they were all taken down. Probably was still taped off the PA system, though.

...AND, "jazz" radio stations... A local outlet is advertising for a new morning announcer, and after looking at the job requirements, a man emailed the program director "when does one need knowledge of jazz when the station has become a pop station with a rotation playlist??" The PD's response: "Your [sic] right. We are attempting to build a bridge for new listeners with songs that are jazz influenced." (Pretty bad sentence structure, but I think I know what he means). Now, I'd say that implicit in the listener's remarks is a touch of displeasure with the current content, but the PD continues, somewhat obliviously "We hope youll [sic] continue to listen. If youre [sic] seriously interested in applying for the Morning Host position please read the criteria in our ad and directions in how to send it." (Not quite sure I get "...directions in how to send it" either, but...) By the way, the station has a daily featured show called Dinner Jazz.

OOOH...cold. But right.

Yes, there are scores of musicians who took their first recorded solos during the Swing Era and later adopted the bop language, resulting in a very different style. Too many to mention really. Something similar happened when Coltrane came along, as you mention. Trane changed Benny Golson's playing, I'd say, especially his tone...

Is there any proof that he did, in fact, invent Milk of Magnesia? Did they find any blue bottles in the crypt?(I think Magnesia is just down the road from Hierapolis...)

Chacun a son gout, I guess. I like it a whole lot, and find that Miller's not really mainstreamish (as if that's bad!), just nodding a bit to Duke. You say "they sound a bit under-rehearsed", I find it relaxed and loose. I agree it's not a 'must-have', but I'm glad I have it, and I'm not a collector.

I have it, and it's great on all levels...playing, sound (bass a little hot for my taste), packaging. A tribute to Duke Ellington and Jimmy Blanton, it's a sedate-looking hardcover booklet, holding the CD on the inside cover. There are brief bios of Miller and NHOP, and Ellington, with reference to Duke's Danish connections. That takes about half, with the remainder promotional material for B&O, tastefully done. Some info from the package's back inside page... Mulgrew Miller, piano Niels-Henning Orsted Pedersen, bass Recorded in Studio 3, Broadcast House, Copenhagen January 15, 1999, in Cooperation with The Danish Broadcasting Corp., Jazz Dept./P2musik Producer: Ib Skovgaard Recording & editing engineer: Niels Erik Lund Executive producers: Hans P. Folmann, Jordi Sunol, Peter H. Larsen Photos: Jan Persson, Bang & Olufsen Cover & booklet design: MHI Partners This recording, all or in parts, can not be rebroadcasted, commercial or non commercial, on radio with authorisation from producer. [i used it on the air, with permission from Peter H. Larsen] 3656651/06.99/Version 1.0 Tune listing: 1. C Jam Blues 2. Sophisticated Lady 3. Pitter Panther Patter 4. I Got It Bad 5. What Am I Here For 6. Mood Indigo 7. Blues In The PM's (Mulgrew Miller) 8. Come Sunday 9. Just Squeeze Me 10. Solitude 11. Caravan 12. O.D. Blues (NHOP) Total playing time 51:19 "The tracks selected demonstrate how they might have sounded if Blanton and Ellington had extended their duets to cover more of Ellington's compositions..." No, I'm not interested in selling it.

There are those who believe that Gershwin cribbed the changes from Ford L. "Buck" Washington, the pianist and partner to John Bubbles (John W. Sublett). The duo was known as Buck and Bubbles...some stuff on Youtube, of course. Bubbles is possibly the best tap dancer ever.

I find this sort of thing amusing... (from http://www.milesdavis.com/us/news/miles-davis-quintet-live-europe-1967-bootleg-series-vol-1?cid=lg:8su&utm_medium=email&utm_source=miles%20davis&utm_campaign=ypp%20-%20miles%20davis Comments for this News article Re: Miles Davis Quintet - Live In Europe 1967: The Bootleg Series Vol. 1 .Fri, 07/22/2011 - 12:28 — jules This is incredible news! Even though I already have all this music as bootlegs, I can't wait to buy the official release. This is some of my favorite Miles music ever, really stretching the boundaries of acoustic jazz. Will we have in the near future Sony pushing a release with somebody saying "Wow! Finally a chance to actually pay for that Napster concert I downloaded a few years back..."? (HMMM...somehow double posted. No doubt my mistake.)

That's good to read, but it's not a true review, more of a promo blurb. John, isn't that pretty much the definition of "reviews" these days, in a lot of publications? Too darn may 4/5 star reviews: as though the publication is afraid of offending a potential/current advertiser.

I think there's a good chance it's the recording of the piano, and not the piano itself. You bring to mind a guy who could make a Hamburg Steinway sound like a Fisher-Price: Richard Alderson. IMO, had tin ears when it came to pianos...

Oh, and let me throw in this 'terminology' too: remix, or re-mix. ONLY if you have access to the original multi-track recordings can you 're-mix'. Original mono can't be remixed. With today's sophisticated equipment, it's possible to re-equalize (shift the frequencies around a bit, re-emphasize the bass or mid-range or treble, or ALL) then add some reverb/echo, but remember, that's changing what the artist and original producer signed off on. If you're working from two-track stereo, you can shift the image slightly, I suppose, but it's much like the mono situation. I think that's all for today, but no promises. For tomorrow, we'll take on "presently" (doesn't mean NOW), and "hopefully", and maybe the complete abscence of adverbs in current usage. I'll go now, my self-inflicted heat-headache is getting worse.

Yup, I'd say so. But even the Radio Rights Holder would have to have further permission from at the artist, since it's most likely the original contract was for one- or two airings ONLY. And if he's under an exclusive recording contract with, say, Columbia, the record company AT THE TIME OF THE RADIO RECORDING would likely have a right of first-refusal to commercially issue it, even if the artist is now with another company. Many bootlegs are simply illegitimate releases of the edited concert broadcasts, taken off the air onto a home tape machine. Sometimes, a 'collector' has a friend at the radio station who steals a dub, who high-speed dubs it for another friend who makes copies of it for his personal circle only, one of whom issues the off-speed cassette version on an Andorran label. (And that's the truth! )

There was a pretty good connection in the late '70s between Ann Arbor and Toronto, especially Bill Smith (of Coda and Sackville Records) and the folks at A Space here. George Lewis made his first solo concert there, and recorded a Smith-produced Sackville release, The George Lewis Solo Trombone Record (Sackville 3012, LP and eventual CD) on Nov. 21, 1976. This was just after he appeared with Braxton's big band, and toured with the reedman in Europe. http://www.discogs.com/George-Lewis-The-Solo-Trombone-Record/release/2720590 Though it's a 'solo trombone' record, there's a 20 minute "Piece For Three Trombones Simultaneously" with three overdubbed Lewis parts. I believe it's the first release under Lewis' name.

...and maybe that's why most girls like 'bad boys'? It must be getting harder for girls to find them, what with everybody getting tattoos these days.

The current Miles in Europe discussion makes me question why these recordings are called 'bootlegs'. Illegal releases of the content are bootlegs, but the recordings themselves are legit. They are all radio or television audio recordings, for which the musicians were paid, often handsomely: European broadcasters were/are mostly State Entities with proper budgets. If Miles' label (call it Columbia) makes an agreement with the original broadcaster, and the artist/estate agrees, the release isn't a bootleg, IMHO. It's a new release of archival material. (And it means "The Complete Columbia Recordings of ...." is out-of-date ). To me a REAL bootleg is when some dolt sits in the audience with a 29 dollar cassette machine with failing batteries, then puts it out as a somehow special event, a la "The only meeting of two great artists at this famous club"... And while I'm in a head-scratching mode: 'covers'. Stan Getz playing Summertime isn't a 'cover'. Just because the performer didn't write it, doesn't make it a 'cover'. It's repertoire. The NY Phil doesn't 'cover' Beethoven. A 'cover' is Pat Boone copying note-for-note Little Richard's recording of Rootie Tootie and rushing it into the White market to rip off the Black artist. I feel better now, having got all that off my chest.

Bad what, Mike? Are the oysters Bad?

If "it's all good", why am I always turning off the radio? To make good better? That's true... It also makes bad inaudible!