colinmce

When it comes to Cecil, what is "open" anyways?. But I don't think it's any secret or speculative in any way. I did not know about Fats Navarro. That's interesting. There is also Chris Connor.

Cecil Taylor, of course.

PM on Argharta & Pangea.

My absolute #1 pet peeve is that disjunction between pictures on the album jacket and the time period represented on the record. Seems like this was almost exclusively perpetrated during the 1970s (i.e. Miles Davis Prestige two-fers).

No, the only one of theirs not to.

Miles' best!

Very cool!

Agreed ... just not how I would do it. I will, however, get the Elvin Jones.

Disc 3, Tal For the rarity of the material as well as its incredible quality, surely this is among the most indispensable Mosaics.

Sold.

Bump. I'm open to trade for any big box I don't already have.

Looking to trade this for another Mosaic. Like I said, all sealed (by outer box) & in mint condition. I am interested in the following sets which I feel would make for a fair trade: HRS Sessions Tristano/Konitz/Marsh Buck Clayton Gene Krupa/Harry James Condon Mob Roy Eldridge Buddy DeFranco/Sonny Clark Classic Capitol Jazz (a tad uneven, I know, but maybe you just really don't care for it) PM me if you're interested or have another suggestion-- I'm fairly open.

Disc 4, Death & the Flower.

Strange, I just scored a sealed copy of #163 The Complete Capitol Studio Recordings of Stan Kenton 1943-47 through Amazon for $71.99.

Planning on it later this month or the next.

A used Plugged Nickel is available on Amazon for $65

I live for those people who don't know better, or at least don't care. But yes, you really do have to be quick.

Gah! I have to, just have to. *covers eyes, turns head, clicks 'place your order'*

I think half the problem is finding a copy. Some of those Hats can be ludicrously scarce, like the Jimmy Lyons titles. I guess the few who have them, keep them. edit: I mean Riffs and Push/Pull. I know Jump Up is more easily located.

I think his approach to songs and song form are the basis of Steve Lacy's genius. With both Monk's music and his own I think he offered a totally unique approach to improvisation within and across songs. Kind of like his own insular version of the Tristano school. So the free improvisation on Sortie leaves me cold. But yes, different strokes.

Indeed, Sortie is-- I admit I bought it. And I don't really like it much. Disposibility is the much more enjoyable listen.

Sometimes I wish you weren't able to see completed listings. They haunt the mind ... http://cgi.ebay.com/COMPLETE-GLENN-MILLER-BLUEBIRD-1938-42-CD-SET-/400218044704?pt=Music_CDs&hash=item5d2edab920#ht_500wt_1156

If I may ask Jeff, where did you get all of your obscure Lacy records from?

In case anybody has been wanting to grab this after reading the Penguin Guide and has been unable to find a copy (it has been OOP for years and very expensive and elusive second-hand) it has been reprinted by Nagel Hayer and is widely available on Amazon and Ebay. I'm very excited to finally hear it.

Read about this in the Times. Sounds fantastic: http://www.nytimes.com/2011/05/20/arts/music/paul-motian-quartets-tribute-to-modern-jazz-quartet-review.html This is why Ratliff is one of my very favorite jazz writers; how perfect is this description of the MJQ sound?: "diaphanous, concise, glassy with blue streaks"