mikeweil

That seems to be the crucial question. It's the only music in this box missing in my collection. But I wonder where they copied it from ...

I wish this Savoy material would get the Mosaic treatment.

Maybe too much is made of the whole thing. The Trane Group was recorded live in Seattle the preceding day, September 30, 1965. "OM" was made October 1. Parts of "Kulu Se Mama" were recorded later that month. Earlier in September they had attempted "Meditations" for the first time. If "OM" weren't opened with these admittedly weird chantings, would be think about it differently? As JSngry has said, the spiritual quest may be the main factor. But I often have the feeling that's a part of Trane many fans do not want to deal with. But it was his main driving force, IMHO, after his cold turkey following his first feeling of the presence of God.

I remember a passage in one of the books on Trane that it was maybe not on the session, but on one of the days before, that they had their pills. I could be wrong, don't have the time to check.

I just browsed through the jazz new titles. Seems they have all of the Impulse catalogue for € 7,99 a piece. I warn you of a series called "Original Jazz Standards", they look like this: A series marketed by ZYX, you know what the series title is to sound like. They rip off titles from Prestige, Blue Note, MGM, whatever, with no respect to even European copyright law. Their revenge for loosing the Fantasy catalogue?

My thoughts exactly! Well, I really like the "facimile" 16 bit and 20 bit series from Savoy/Denon. Love the fact that these were just like the lps and loved the glossy covers and big back cover and the sound was glorious! Some of my great exciting jazz collecting moments were getting this series out of the bins! Some wodnerful music! Well, you can have both when adding the bonus material after the LP tracks. It's all the more annoying 'cause Bob Porter meticulously researched the Savoy disco! Couldn't they afford a copy at the Denon office, or didn't they know? Ridiculous ...... With Savoy you get incomplete sessions with the majority of issues.

I grabbed Turrentine's The Spoiler on my last visit to the Frankfurt store. Didn't see a copy of the Dizzy box ...

I personally think that the Sonny Lester sessions would justify a Mosaic Select - some of the best free form fusion there was. Agree with Chuck about everything after them - I have most of the stuff he recorded for German labels, but he didn't grow any further, it seems.

My thoughts exactly!

I admit it would be better than nothing, but I will never be a follower of LP fetishism - a CD offers different possibilities than an LP and should be treated as such. If I were a reissue producer, I would complete sessions as much as possible and avoid duplictes and correct discographical errors from the past. But ....

Steig, Bernhardt, and MacDonald also played on Mike Mainieri's second LP for Solid Sate, Journey Through An Electric Tube.

Wayfaring Stranger actually was the third, so to speak. It was produced by Sonny Lester to be issued on Solid State, but that label was acquired by United Artists who used Blue Note as their jazz label. The Sonny Lester produced LPs were: This Is Jeremy Steig - Solid State SS 18059 Steig, Warren Bernhardt, Glen Moore, Donald MacDonald Legwork - Solid State - SS 18068 Steig, Sam Brown, Gomez, Don Alias Wayfaring Stranger - Blue Note BST-84354 Steig, Sam Brown, Gomez, Alias Fusion (2 LPs) - Capitol, then Groove Merchant Steig, Jan Hammer, Gomez or Gene Perla, Alias

Just remembered that there was a Ray Mantilla LP on Inner City with Steig, Gomez, and Chambers. Austrian Karl Ratzer played guitar.

"Lend me Your Ears", recorded in 1978 for the German CMP label. Steig, Gomez, and Chambers.

I love his first Prestige trio LP, and the first few he recorded for Pablo with George Duvivier and Grady Tate, among others.

To me he always sounds as if he could play chorus after chorus, for days, and not running out of ideas, and even if he repeated himself, it would sound fresh. One of the greats I regret I never saw live.

And duplicate Alice' two tracks? Naw .....

Universal has to make a deal with Ravi - he will not stall, that's for sure. But I think the main "problem" is that there is not a real "original" album to deal with. This would have to be an entirely new compilation. Could it be that Cuscuna is tired of dealing with Verve?

Expressions basically should be re-compiled, as one track turned out to belong to the Stellar Regions sessions. But the desire to complete sessions on CD re-issues and the desire to base them on "original LPs" clash. Still waiting for a re-issue of the Reverend King sessions for probably the same reason.

1) Moacir Santos was one of Brazil's greatest musicians with an extraordinary career, he wrote some of the most beautiful music I ever heard. I cherish each and every one of his recordings. He was rooted in Brazilian popular music but incorporated classical and jazz influences. The quality of his tunes was praised by the jazz musicians who encountered them. "Maestro" was the title of the LP. 2) that building is the National Congress in Brasilia, the country's capitol. This archictectural masterpiece was designed by Oscar Niemeyer. 3) Blue Note went "beyond" in the late 1960's, so why not? I'm glad these albums exist.

Well, it could be it wasn't Verve's fault - Tjader recorded the tune November 23, 1964. McFarland's session was early in August, 1965 - maybe he re-titled his own tune. The same happened with Fried Bananas, only that the change took place before any issues were made. So the session logs probably identified the tune as Monkey Beams - why shouldn't they trust the original session files? That the composer wasn't noted may have been sloppiness, or caused by the fact that they decided against releasing the tune. If you take a look at the differing personnel and stylistics involved until that Soul Sauce LP was issued .... producer Creed Taylor and Tjader must have had differing ideas about the album, and maybe Taylor and McFarland clashed ..... all speculation, of course.

Just found out I already had this in the disco - Doug Payne, the undisputed Gary McFarland expert on the web, also noted this. See http://www.dougpayne.com/gary1.htm

Don't know about any story, but wouldn't be surprised if this particular reissue was handled by someone not familiar with McFarland's music - e.g. I know a lot of music, but McFarland's was a lot harder to get acquainted with than Tjader's. And I also wouldn't be surprised if Cal used Gary's tune: It seems the two were friends. Verve has at least two tracks from an unissued session with them both in the can, but I doubt we will ever get to hear this. p.s. I will incorporate this into the upcoming Tjader discography and forward it to Tjader biographer (that board name is to be taken literally).

Yes that's the one - he does a great solo on "Kriss Kross" doing the first chorus with pedals only! I usually listen to it on a cassette tape I made many years ago on the equipment of my girlfried at the time - the LP copy I have is warped at the outer rim and I am afraid of ruining my cartridge!

So that hidden track is the zero index - the disc starts at index "one" when you simply hit the play button. In this case rewinding works.