mikeweil

I should say a little more precisely: When I look at the playing surface from a certain angle I can see a mirror image of the print on the label side.

Frankly I can't tell as I don't know how it looks like with air between the layers - the one copy of a Hyperion CD I had with similar look and defects was immediately replaced by the label, who sent a nice letter explaining the oxidation phenomenon due to lacquer experiments and parted company with the manufacturer - but that was ten or more years ago. The remark about an Italian plant Chuck made rings a bell: This CD was indeed manufactured in Italy!

As tall as you are, you should have an overview .....

Simply think twice before posting - but it won'tr last forever

I'm afraid this will increase the number of nonsense posts considerably ...

No new level after 15.000 or 20.000 posts? I'm afraid some will stop posting after they've reached 10.000 .... where's the suspense?

Phoenix 5th Anniversary Album after that it's gonna be Beryl Booker's Mercury sides and some Amos Milburn. Then, Doug Hammond's many self produced LPs.

Try to get his OOP Blue Note CD "go Round".

If it's the Blue Note - good set in good sound. No need for Andoran issues here.

Charnett Moffett - another bad mofo.

Certainly not for the fans of his Prestige, Savoy and Impulse LPs, not even for the Atlantic aficionados. Funky beats, solos on top, nice but nothing much is happening. Trying to sell some, he was. Don't blame him - the Seventies were a hard time for jazzers.

Today I threw in one of my first hundred CDs purchased, a 1989 JazzUp JU-304 CD issue of the Jivin' In bebop soundtrack with Dizzy's big band, and it took loooooooooong to read, and almost as loooooong to start playing, and then only with bad distortion. CD layer looks brownish, like some of those manufactured in Great Britain for a short time oxidizing fast - and it shines through, a very thin layer. A hopeless case for the wastebox .... I'll rather get me a DVD of the movie.

Didn't know I'd be the first - more elaborate comments to follow, as I said. A theme? Hmmm - is this all from the 1940's? In any case, that was a fascinating time and scene!

Thank you so much Milan for this fabulous anthology - the best of this era I have ever heard! Great programming and even better selections. Excellent musicianship throughout. Wish I had more time right now but I am working on something with a strict December 1 deadline limiting my listening time - so I will comment only on tracks where I recognize some. I will participate in the impressions discussion as soon as I find the time. The usual disclaimers apply. I will get back to spinning this for sure - many many times. Track 1: What an enjoyable opener - had me dancing back to my computer. Certainly not Miller's mood! I heard some more serious jazz band version like this many years ago but can't remember. Track 5: If that isn't Bird playing Star Eyes I will eat my tie! Is that from the Benedetti recordings (because of the fadeout)? Track 6: Prez? Sounds like an informal jam on Don't Be That Way. Marvellous!!! I want this!!! Track 7: Excellent brushwork!!! I know that tune Oh yes, that must be a Ray Bryant tune played in drummer Jo Jones' trio (Splittin'?). Maybe I have that one somewhere. Track 8: Benny Goodman live? with Hampton? but I dare say this is not Charlie Christian. Track 9: Wild! They sure were havin' a helluva time! Though the drummer sounds a little stiff to these ears. Track 10: I'd say Lady Day. Don't recognize the band, don't have time to investigate. Track 11: Four Brothers. Woody's band? Would have to compare. Track 15: I know that voice, but can't remember right now ... arrgh! Track 16. Louis Jordan moving to the outskirts of town. Track 20: Oop Bop Sh'Bam - but a little too pedestrian for Dizzy's band - and he would never have let his trombone player solo first! Oh - Gene Ammons on tenor - yes this is Mr. B.'s band! Track 21: Maxine Sullivan. Straight and sweet - but I don't have this one; I like her very much. Track 22: Kay Penton!!!! my favourite bop era singer!!!! A big hug for Milan! This is from a Dameron band session (Savoy?). I wish there were more than these 8 sides I found so far. I LOVE this singer!!! Thanks again for this wonderful compilation - your collection must be the Belgrade Jazz Archive! p.s. edited to correct a smiley

This means some day we're all going to be "Groovissimo"? Great! United at last!

Now I wanted to use this feature to find out where I was, but each time I click on it it says "Viewing board index" - how boring!

Oh yeah - worst thing that can happen after such a long marriage. My thoughts are with both.

Of course - couldn't locate the cassette copy I have. As for the titles previously on CD - that's why I complained they mostly reissue stuff that's already been on CD. Spanish Blue is not earthshuttering, but not mediocre either. But it's a matter of taste. p.s. one "l" in my name - I'm not related to Kurt Weill, unfortunately ...

We all do .......... but I'd prefer a sponsor.

Instrumentalists singing/Humming/grunting along can/should not be called jazz singers. Besides that, I don't mind if they do - Jarrett would be a lot more boring to me if he didn't .... The one singer that always makes me wish someone would have stuffed his mouth with a stocking at the session is Milt Jackson. Simply horrifying. Terrible vibrato. Urghh!!!

I used to really dislike the sound of electric bass. But I was fortunate to play with some great practioners of the instrument on the local scene - they gradually undermined my prejudice by their musicianship. One thing you cannot get with an electric is that woody, percussive attack. That's why Cuban and salsa bassists prefer the upright baby bass. Where's Mr. Bassman? I learned a lot from him about these things!

Monk Montgomery as the pioneering player on that instrument should have been in there. He was great and swung the most of 'em all I always prefer an acoustic, I have to admit. Italian Dario Deidda has impressed me lately. James Genus has a great sound on Steve Masakowski's first Blue Note CD. Fuller and warmer than most.

Have to say, the stuff Herbie plays on his three Warner Bros. LPs is the greatest ever played on a Rhodes, IMHO. His solos on "Ostinato" sound like a bunch of balaphones gone funky. That one hooked me to Herbie and the Rhodes - played that track a thousand times - wish they had released the unedited version on the originally planned Warner box that was scaled down to that two-CD set.

Herbie!!!!!!!!! Larry Willis is great on Rhodes, on his Groove Merchant LP he played a Wurlitzer, which has an even funkier sound. George Duke had a Wurlitzer. Of the younger Hancock disciples, I favor Kevin Hays and Geoffrey Keezer. But I like the stylings of many, including more avant-garde players.

I have always enjoyed his work with and for Boyd Raeburn - "Tonsillectomy" is a favourite. His "Handyland" session for an RCA sublabel is a thoroughly swinging affair: Handyland U S A George Handy Featuring: George Handy (p), Ernie Royal (tp), Allen Eager (ts), Dave Schildkraut (as), Kai Winding (tb), Vinnie Burke (b), Art Mardigan (d) RCA Victor (Spain) 74321 61112 2 PRICE: 9.80 € Tracklisting: 1. Recoil (Handy) 2. A Tight Hat (Handy) 3. Noshin' (Handy) 4. Sprong (Handy) 5. Rainbow (Handy) 6. Pegasus (Handy) 7. Lean To (Handy) 8. Blinuet (Handy) 9. Case-Ace (Handy) 10. Crazy Lady (Handy) 11. Zonkin' (Handy) 12. Footnotes (Handy) Recorded in New York City, 1954