colinmce

This one caught my eye. Thoughts from anyone who knows it? http://www.dustygroove.com/item.php?id=jrxfkz9b89&ref=featured.php&refQ=cat%3D5

I bought this today. Big Lots was depressing. No OJCs or Keepnews. Or legitimate albums of any kind.

I love that Nonesuch CD. The obscure "So Am I" is a true highlight.

I mentioned this elsewhere, but there's no way the new Altschul/Fonda/Irabagon album on TUM could not be great.

And might I add a hearty F Yeah re: the new TUM trio CD with Fonda & Irabagon. If you haven't heard Irabagon's Foxy with Altschul you need to do something about that.

Parts I & II of a three-part conversation between drummer/composer Harris Eisenstadt and the great master percussionist on the occasion of his 70th birthday. Lots of great stories and insight from a guy who's really gotten around. http://destination-out.com/

New major mainstream jazz label signs major mainstream artists who already record for major mainstream jazz labels.

I'd have loved to sit in the Sing Sing Room at the Confucius Restaurant in NYC 1955 to hear Lee Konitz with Tristano. Second would probably be King Oliver and Pops at Lincoln Gardens, followed by Ellington in Fargo.

Pretty good! I'm surprised no one has mentioned the show here. Unfortunately there didn't turn out to be as much jazz content as the first couple episodes might have suggested. But shit y'all, in 2012 both Tomasz Stanko and Kidd Jordan were beamed into the homes of millions!

Even in the realm of pseudo-celeb professorship appointments, this is pretty impressive.

Yes, but it also included the material Green & Clark recorded with Ike Quebec around the same time. If I could only keep 10 jazz CDs, this would be one.

I'm speaking off the cuff here, but I personally wouldn't sweat an international package after just two weeks. Lots of reasons it could be taking longer. Though I do hope it arrives soon!

As if it needs mentioning, the Lee Wiley is exquisite.

Interesting connections!

Ditto the Newman/Cohn/Green and the Mainstream style.

Don't know if this has been mentioned yet, but I just pulled out my RVG of Further Explorations by the Horace SMITH Quintet (disc).

I moved to Louisiana from Iowa (lifelong resident) two & a half years ago. I remain to this day rather ... unenthused. Maybe I'm just a grump and a creature of habit, but let's just say I don't have much to contribute. My wife and I split our lives in New Orleans for two months while our child was hospitalized and it is indeed a pretty great place. Unfortunately we just haven't had the chance to go back yet. But I will say it's one thing to visit this place and a whoooole other thing to live here day in and out. Frankly, it's fucked.

Correct. A true shame, as I find them more interesting and rewarding than the big boxes.

There have indeed been a rash of late-60s/early 70s Prestige & Milestone titles trickling out of Japan. The only McCoy I recall seeing, however, is Spider Man.

Ha, that's a steal! Try $6k ... I wonder if the plant that pressed the jackets is the same that our Mr. Horowich uses?

Is this on CD?

Big Weird Weeds fan here, Clifford. I'm sure you're friends with Nick. I was turned onto them about 7 years ago by my friend Jason, who was also friends with him.

Stumbled on this from the Braxton listserv: I placed and order and look forward to hearing it. I love solo bass.

Re: OTL yes yes yes. There is really nothing else like it and a lot of times I think that makes it hard for people to deal with. Dolphy holds a special place for me. Out To Lunch was one of the very first jazz records I bought seriously. I had a small few: A Love Supreme, Mingus 5, Brilliant Corners, Ornette! but I never really heard those albums, just listened to them. When I put on Out To Lunch I really knew what it meant to hear music completely. It's just an endlessly satisfying date to me, on everyone's part, and opened my eyes and ears up wide. In fact, I think I can honestly say it helped me to listen to jazz in a way that might have taken months or even years longer listening to other things. You can spend each sitting with it listening to just one player and be held rapt. In fact, I'm usually so enraptured by Williams, Hutcherson and Davis that I forget to listen to the horns. The rhythm on this date is truly something to be reckoned with. I followed Dolphy's sideman work to Blues & The Abtract Truth, The Quest, and Ezz-Thetics; the later two certainly contain my favorite playing by him by far. A lot of critics centralize his activity around Mingus and Coltrane but I never think of him that way, probably because these are not the records I first focused on. I like his playing with Coltrane, but don't find it to be central to his legacy-- possibly even marginal. Mingus is a whole other story, of course, but I still always find myself coming back to his Prestige albums more than anything else. It's been my contention that had Little and Dolphy lived, and had the Five Spot group recorded together for another five years or so, they'd have been as influential as Miles' Quintet on the direction of the music. But, given Out to Lunch, who's to say what direction he was headed in ...