colinmce

How is Flute Fever coming along, Jonathan?

Thanks, I'll keep an eye on that. As a side note, this seller has been pissing me the fuck off for the last year and a half clogging up my Anthony Braxton and Cecil Taylor searches with their ludicrously overpriced CDs. The price for the Oxley, obviously, is a shade more reasonable. But if no one has paid $150 for your Dortmund (Quartet) 1976 CD in the other 50 times you've listed it, what makes you think they would now? And why are you asking $80 (initially $200!!) for Willisau 1991 when you admit your copy is missing a slipcase and disc 3 is unplayable? End rant, sorry. I spend too much time on ebay.

I liked what I heard on NPR. I plan to check it out as well.

I steadfastly believe in limiting the length of mix tapes. When I make a tape of non-jazz music with a 90 min cassette I think in two 45 min blocs. When I make a nonjazz mix CD I try to stay around 60 minutes, or 12-15 songs Jazz, of course, tends to go on longer so I think 70-80 minutes is about ideal. If you're dealing in pre-LP era jazz, I say stick to track limits: 15 or so. As per the poll I do get weary after a certain length or certain number of cuts.

Well, first off DG often buys bulk dead stock from labels; they have the same deal with Cecma, Hatology, Black Saint, About Time and others. Second, I think we can rightly infer from the discontinuation of the RVG series nearly 4 years ago and the almost across-the-board cuts of EMI jazz label CDs that started in 2008, as well as the lack of any visible commitment to archive releases in this same time frame that these albums are done. Many have disappeared from active sale at Amazon. Also, we're talking about records that sell in the dozens to hundreds a year (for the most part) but were printed in the thousands. So I don't think we'll run out anytime soon.

I meant original to the set, not available elsewhere.

Doubtful many people will need any of these records at this point, but if you do in fact, Dusty Groove has a huge bloc of RVGs & Conns sealed & all for $6.99-7.99. It really is the end.

I've been looking for Day Will Come and Oxley's Baptised Traveller for a reasonable price ever since I first picked up the Penguin Guide. Still no avail ...

It was good! All original material.

I would hope no one would pay $50 for this CD. I wouldn't give a delusional seller like that the validation.

Huh, good to know. Anybody have recommendations for good sources beyond the original LP?

Seconded!

Maybe this necessitates its own thread but can anybody reasonably explain the A/D B/C thing that was oh so popular in the 70s? I've wondered this for a very long time.

The session released in Japan as Cherokee was meant to be done as a piano trio but he switched to organ. He plays very pianistically there, and so it's a very accessible date for someone like myself who's not a big organ fan.

Also consider getting the Miles/Gil box set. Loads of extra material.

There are all substrata of jazz musicians from innovators down to journeymen, but I'm most drawn to the originals and Von was one of those, archetypal even. He won't soon be forgotten ...

PM on James Booker Resurrection of the Bayou Maharajah

Warne Marsh - Warne Out (Interplay)

I'll take Roy Elridge - Little Jazz

Just tell me when you want my money.

This new box set of his prime early material is good: http://www.jazzloft.com/p-55639-dansere-3-cd-box.aspx

Shit that's a good festival. How does something like that get going in Ann Arbor of all places?

PM on Brubeck Riddle & Newport and Ralph Sutton

Charlie Christian, Dizzy Gillespie, Thelonious Monk et al - Jazz Immortals (Everest) One of four (!) packagings of this material by Everest. Sturdy, worn jacket and thick, pristine vinyl. Sounds pretty good, probably better than the OJC CD. My copy obviously doesn't have the orange edge from this reissue but it's the only picture of this cover I could find. I see they added the O to Thelonius there.

From what I see this set moved very quickly; from all I know of Michael, Scott, et al's practices this is not normally how they do business-- look at the Hawkins set, for which they scoured the globe. It seems to me that Sue came to them with a bundle of material and they ran with it since the set is obviously such a winner and would yield big sales in any form, a stream of revenue they could probably do with sooner rather than later. I'm glad they got it sorted out, though.