colinmce

I'm not talking about bank-breaking here. But $25 is not the kind of money I drop casually on a CD.

http://www.popsike.com/STEVE-LACY-ESTILHAOS-LIVE-IN-LISBON-LP-PORTUGAL-1972-RARE-MINT-JAZZ/200745643454.html Sorry, $282. But still!

You can add Freddie Roach: nothing on Amazon CD-wise under $50!

Anybody ever notice that when it comes to some artists, it's tough to find any titles on the cheap? I'm talking under $15-20. I noticed this is now the case with Eddie Costa. I just did searches on Amazon and EBay and found that titles that were affordable a few years ago like Guys & Dolls and the Lonehill trio set are up into the stratosphere. His Mode date is still a good buy but that's about it. Any other examples? And I know you can always find something here and there-- I'm talking on the whole here.

Damn! Last eBay copy went for around $350.

McPhee/Boni/Jaume - Songs & Dances. One of those CDs that just seems to exist in name only. Speaking seriously of Braxton: his unreleased 10xLP solo recordings from France 1985. Plus, uh, Willisau 1991.

Don't miss his debut, Loxodonta Africana on New World. A great mid-size ensemble record that calls to mind mid- 60s Blue Note, with Richard Davis, James Spaulding, and Charles Sullivan in tow. Not hugely original, but a great listen.

In my estimation, the Black Saint/Soul Note box sets represent one of the great events in jazz reissues in the last several years. It's fantastic to think that a box set of Don Pullen or George E Lewis albums is (relatively) commercially viable in this day and age. Nevertheless, the fact that they focus on the combined output of one artist means that performers who released only one or two titles on the labels, as well as those who may be too obscure to warrant a set fall through the cracks. So I'd like to solicit recommendations of notable "one-off" records, or great albums from the labels with a low profile. The entire BS/SN catalogue is available on Spotify, as well as Amazon, iTunes, etc. Walt Dickerson/Sirone/Andrew Cyrille - Life Rays (Soul Note, 1982) A true trio endeavor, beautiful, serene, yet challenging. This is by far th best work I've heard from Walt Dickerson and could be said to represent the culmination of his art. Indeed it iss his last recorded work, if I'm not mistaken. BassDrumBone - Wooferlo (Soul Note, 1997) A more reliable group of players you will not find. This, like everything they do, is immensely enjoyable and expertly played. Marcelo Melis - Free To Dance (Black Saint, 1978) Pullen, Jeanne, Bowie, Moye, Hopkins, Lewis , Vasconcelos, Rava, Shiela Jordan ... I guess you could conceivably lose here, but the chances are slim. The end result is cohesive but loose. Very AEC, very funky, very. 70s. Baikida Carroll - The Door of the Cage (Soul Note, 1994) I like his earlier, Hemphill-ish Shadows & Reflections, but this is better. Stone-solid modern jazz in the Search For The New Land vein.

Never seen that cover. Very cool.

HRS is a great suggestion, as is the Ellington small groups. I would put a bid in for the Bird. There is no such thing as too much. Are you familiar with his Verve stuff? Its not the same as the Savoys & Dials but it's still jarringly great.

Seeing as how they've been completely turned over to the cutout bins, I'd say no, they did not sell well.

Knobby Totah-or however he spells it, Barry Harris-as a teen. Best I can do off the top. Knobby Totah passed earlier this year, unfortunately. There is a thread if you search.

Very neat! And a very happy birthday to the greatest living jazz musician.

Still trying to track down Patterns and Spiral/Medina. These are easily the most difficult to find and expensive Blue Note CDs. I might just grab the new LT Japan versions, but I would so prefer the BN editions.

Another thumbs up here, a magnificent record. "The Blessing" is one of my favorite Ornette compositions and I think this may be my favorite recording of it.

I am doubly sorry for trying to contribute to this thread.

Fair enough. I'm not a huge soul jazz fan, but I do hear something going on there that points the way to some subset of 70s jazz, on "Little B's Poem" especially. But it does also sound a bit like " Ghetto Lights", so I'd say you're more right than me. At the very least it's quite a listenable, listener friendly sound.

Seconded.

I like the book, but Chambers comes from the hyper-critical school of musical analysis, and it's grating. He begrudges Miles a small handful of flawless performances, but his conclusions about everything else-- and he does a rundown of every recorded session the man did, plus the released live stuff (handy)-- are mixed at best, nitpicking endlessly about fingering, wrong notes, late entrances, fudged rhythms, repetition of ideas, ad nauseum.. He's also pretty stodgy in his approach the the electric material. But it's worth a read and is definitely the best Miles bio I've come across.

I've been digging back into Blue Note lately after a relative hiatus from listening to this stuff for a couple years. I've been filling in some of the (many) holes in my BN collection and have been pulling old favorites off the shelf. I grabbed Components yesterday and gave it a listen for the first time in a bit. Holy shit, this is a great record. Dialogue gets the lion's share of attention as Bobby's best and most avant garde date, and rightfully so-- it's brilliant and quite possibly my favorite Blue Note ever. But man, don't sleep on Components (Hutcherson, James Spaulding, Freddie Hubbard, Herbie Hancock, Ron Carter, Joe Chambers). It's an incredibly diverse and intensely musical set, split dramatically between two sides. The A side, which seems to be the one that people remember (see Morton and Cook): four tunes penned by Bobby: Components, Tranquility, Little B's Poem (in its debut performance) and West 22nd Street Theme. These are marvelous tunes that do a lot to set the stage for soul jazz in the early 70s: light, melodic, soulful, and funky with flute, vibes and piano dominating-- a lot of Herbie Hancock's music flows right from this source, and some of Freddie's CTIs to boot. But then there's the B side, composed by Joe Chambers-- only Unit Structures is freer Blue Note jazz than this. The four pieces-- Movement, Juba Dance, Air, and Pastoral-- play with space, tone clustering and instrument groupings much like Unit Structures and also "Anthony" Williams' Lifetime and Spring. We know Herbie and Bobby can do free like a motherfucker, but Spaulding, Hubbard, and Carter hold their down as they were wont to do. This is incredible stuff and is not to be underestimated. The melding of composition and improvisation, melody and atonality is truly prescient; very few people besides Joe Chambers were thinking quite like this is 1965. And dig the part on Air where Bobby produces an organ-like modification on his vibes and Hubbard blows some cool, quiet, cutting tones over it! Straight out of Live-Evil. If you have it, pull it out. If you don't try to track is down. This was among the first Connoisseur CDs and is now OOP and not cheap on Amazon. But it's worth it. It doesn't quite topple Out to Lunch!, One Step Beyond, Point of Departure, Conquistador, Dialogue, or Lifetime but it deserves place among them.

This one sounds like a keeper: http://jasonadasiewicz.com/living-by-lanterns/ BTW the tape was of Sun Ra, Gilmore & Boykins. I'd love to hear that.

Funny, I spun JI a couple weeks ago and almost made a thread about that solo. It blew my hair back. Also, FWIW the versions of "Rose Room" and "Royal Garden Blues" with Goodman are probably two of my 10 favorite jazz performances ever.

I was planning to make a note in the other thread-- I'll wait for the vinyl. Sounds great.

I have copies of Aaron Parks - Invisible Cinema and Clifford Brown - Memorial Album RVG available to anyone who wants. The former is good, just not something I'd listen to again. The latter is spare. Both are in good condition.

Braxton always makes me feel better about my wildly unsophisticated taste in food. If Anthony invites you to Red Lobster, that means he likes you!