Big Al

Byrds one-off disastrous reunion album (wow, it really is pretty bad) The Ventures Play Telstar and the Lonely Bull (mono) Don Sebesky GIANT BOX (complete with booklet) Dom um Ramao HOTMOSPHERE (Pablo) A BAD DONATO (Blue Thumb) Lalo Schifrin PIANO, STRINGS, AND BOSSA NOVA (MGM) Not a bad haul for a whole buck-fifty!

Sure! We "needed" to hear yet another of Wynton's version(s) of what he thinks music back then sounded like (and we will likely "need" an upcoming 2-CD set of Wynton Marsalis Plays Music He Allegedly Wrote Which Inspired the Ken Burns Documentary, "Ken Burns' WWII"). We "needed" to be told by that trailblazing documentarian (in the same way that Wynton is a "trailblazing jazz artist") Ken Burns about WWII, something we've yet to fully comprehend or understand in our post-modern world. We also "need," but I don't know if this is going to happen, Stanley Crouch to tell us his opinions of WWII in the context of how it inspired these two great "artists" to "create" their "documentary," as well as the "music" used in this "documentary," and how those soldiers gave their lives so that their service could be immortalized in an epic gesture of self-aggrandizement by the two leading experts in that field, for which we should all get on our knees and say "Thanks." Great arguments, Al - if any of them were actually true. Having seen/heard only the first two episodes, I'm frankly confused over the criticism of Marsalis' music - or more accurately choice of music. I haven't heard much Marsalis per se, mostly period pop and jazz (the little country mentioned above) and some elegaic classical themes. To diss the doc for one's hatred of Marsalis is simply wrong imo. As for the knock on Burns himself, well I'm confused by that. So because, collectively, "we've yet to fully comprehend or understand [WWII] in our post-modern world," Burns (or anyone else, Al? Do you include all documentarians and scholars in this statement?) that the subject matter itself is off-limits? Please explain, as I'm sure I simply don't understand you correctly. As for Crouch, that's simply your anti-Marsalis bias showing - and I think criticizing the entire doc because of a personal dislike for Marsalis is terribly wrong and does a great diservice to Burns' work (no matter what one might think of the actual merits of the project). And "self-aggrandizement?" C'mon, it's obvious you haven't seen the show. Of course I haven't! Did you not see all the sarcasm dripping off that post?

The Arlington Public Library's bi-annual book sale provided these vinyl goodies: Claus Ogerman Orchestra GATE OF DREAMS Kenny Barron SUNSET TO DAWN (Muse) Kenny Burrell RECAPITULATION (part of the Chess Jazz Masters Series) Thad Jones/Mel Lewis (part of the Blue Note Reissue Series) Dexter Gordon (part of the Blue Note Reissue Series) Cal Tjader (part of the Verve Return Engagement Series) Horace Silver SILVER 'N BRASS INTRODUCING DUKE PEARSON'S BIG BAND (BLP 4276. That's right: MONO PROMO COPY, BABY!!!!!) McCoy Tyner FLY WITH THE WIND (Milestone) McCoy Tyner TRIDENT (Milestone) Total cost: FIVE FREAKIN' DOLLARS!!!! I actually had to put some records back cuz five bucks was all I had. They also had a copy of Don Sebesky's GIANT BOX, for which I paid $6 on eBay, but could've gotten for $0.50 yesterday. Heck, I may just go back and get it and eBay it, see if I get my money back! Today's half-price day, so I may be back in this thread later......

Claus Ogerman Orchestra GATE OF DREAMS

Absolutely!!!

Hooray for the Cubs!!! Man, this is sweet! Congrats to your Sox, Dan! Been a long time comin'. Now if we could just have that Cubs/Red Sox WS!

1000000% in agreement here! I think that's what makes this date so disappointing: it sounds like Art Blakey is trying to be Art Taylor, as opposed to being the driving force that he normally is. Not a slam against A.T., who can forceful as well, because I love his style of drumming. But only HE can be A.T., whereas only Blakey can be Blakey.

I'm glad you started this thread - led to some interesting differences of opinion. Plus it got me to listen to Leeway again! Well, part of it was worrying if we'd said everything there could be said about jazz around here. This thread proves I have nothing to worry about.

Well, as is usually the case whenever I start a thread like this, little things start jumping out at me. Like the fact that I've been whistling the head of "These Are Soulful Days" over and over ever since I started this thread. I've been listening to it a lot over the last few days; it's slowly growing on me. Slowly.

Big Al is a monumental disappointment to me! Me too!

Silly me.

??????????

Sure! We "needed" to hear yet another of Wynton's version(s) of what he thinks music back then sounded like (and we will likely "need" an upcoming 2-CD set of Wynton Marsalis Plays Music He Allegedly Wrote Which Inspired the Ken Burns Documentary, "Ken Burns' WWII"). We "needed" to be told by that trailblazing documentarian (in the same way that Wynton is a "trailblazing jazz artist") Ken Burns about WWII, something we've yet to fully comprehend or understand in our post-modern world. We also "need," but I don't know if this is going to happen, Stanley Crouch to tell us his opinions of WWII in the context of how it inspired these two great "artists" to "create" their "documentary," as well as the "music" used in this "documentary," and how those soldiers gave their lives so that their service could be immortalized in an epic gesture of self-aggrandizement by the two leading experts in that field, for which we should all get on our knees and say "Thanks."

FWIW, the sound on the RVG is light-years better than the Conn, IMO. Same here.

I had a CDR of the Conn for the longest time, but it never grew on me. I didn't finally get the RVG until yesterday, thinking that it would sound better (I hadn't heard the album in a few years). Nope, still boring. I can sure echo a lot of what Niko said, but none of the tunes have grown on me, though.

This album is a monumental disappointment to me. On paper, the lineup features a lot of my personal favorites: Lee Morgan, Jackie McLean, and Art Blakey. So why do they sound so drastically uninspired? All the songs sound the same! Even Blakey sounds bored, which is highly unusual! What do y'all think?

Also get Jim Hall's CONCIERTO for some fantastic Desmond playing. It, like SKYLARK, is a CTI production: nice sound, smooth sheen, great playing all around. FROM THE HOT AFTERNOON is one of my favorite Desmond albums.

Man, those Chet K2's are sweet! I'd snag 'em if I didn't already have 'em!

Anyone think that Jerry Jones, ten years after the completion of the JerryDome new Cowboys Stadium, won't start hitting up the city of Arlington for taxpayer-funded renovations?

With the Borders 40% off coupon: Dizzy Gillespie GILLESPIANA/CARNEGIE HALL CONCERT Miles Davis VOLUME 1 (RVG) Lee Morgan LEEWAY (RVG)

So have I and I've only had to watch one team accomplish that!

My experience with Wes Montgomery, as do a lot of my jazz experiences, begins with my dad. He had this record and GOIN' OUT OF MY HEAD in his collection. When I first started exploring his collection, I didn't really dig this album too much. I mean, how can a record that starts off sounding like an Andy Williams Christmas record be even remotely jazzy? A CD from the library of Wes' Verve recordings brought a little more understanding, but despite the technical brilliance of Wes' playing, the orchestrations proved too much. So I filed it away. Years later, when I really started getting into jazz, I rediscovered Wes via his Riverside recordings. However, even then something felt amiss. Whereas I found the Verves to be overproduced, the Riversides seemed to be underproduced; a little too dry. I loved SO MUCH GUITAR and still do, but THE INCREDIBLE JAZZ GUITAR left me bored. So that was the end of trying to find the perfect Wes record. At a library book sale, I found a mono copy of TEQUILA. I'd finally found the perfect Wes Montgomery record. Wes Montgomery, Ron Carter, Grady Tate, and Ray Barretto in a pianoless setting (save for the occasional tasteful vibes overdub). Carter and Barretto had already appeared on SO MUCH GUITAR, so the rapport was clearly established. This was the album I'd wished those Riverside efforts could've been: warm, inviting, sultry, intimate, sly, and above all swinging. The version of the title track is THE definitive one, IMHO. "Bumpin' on Sunset" became an instant favorite after I'd heard it on that library CD from years back. So why didn't I pick this as my AOTW? Because even though it's my favorite, it's not the one I listen to the most. The parts are greater than the whole in this album. I find myself skipping over the last track of side one (can't remember the name, shows you how much I like that song). Sometimes it's a little too quiet. Which brings me right back to the present AOTW. As I said, this is not my favorite Wes record, but for me it perfectly blends the raw technique of the Riverside days with the overflowing color of the Verve years. I can listen to this album from start to finish without ever wanting to skip a track. Unlike TEQUILA, the sum is greater than the parts. But there are some shining individual moments: the vamp at the end of "Movin' Wes Part 2" that Wes plays one of his fieriest solos; the orchestrations of "Matchmaker Matchmaker," especially during the fadeout; and perhaps my favorite version of "West Coast Blues." For me, somehow, it just works! I'll be very interested to hear some comments on this album. I know for a lot of people it represents the beginning of the end, and that after he left Riverside he was never the same. Then there are those for whom the Verves are the pinnacle of his playing. I fall somewhere in between. But I can't listen to GOIN' OUT OF MY HEAD anymore. That one was waaaaaaaay overdone, IMO.

She'd likely take that as a compliment!

That is my dream as well. Should have happened in 2003, barring a return of Bartman or Little, maybe it can happen this time. With the Cubs visiting the Marlins this week, I am planning to head down for Thursday's 4 pm start. I'm hoping the stadium will be empty and I'll buy or scalp super cheap tickets and sit wherever, but its possible that Cub fans will come out of the woodwork. But a 3 1/2 game lead means that with a little luck, Thursday could be clinching day. Better bring extra film. Man, and I thought it was cool seeing Sammy hit #600 against his former team. I hope it works out for ya, Dan. And yes, this Cubs fan also says take LOTS of pictures!

I recently placed an order for seven OJCs. They arrived within a week, sealed, packaged nicely, and without any problems or defects. I'll definitely be ordering from them again.