mikeweil

Fine! I'll move Daniel A two steps further down the list, for the moment.

Now what is the reason? I'm afraid Manfred Eicher's esthetic takes away too much of the rough edges of this music. All the cymbal sounds of the drummers are so similar on ECM records, and - but this is very often the case - the drums are too low in the mix, and everything is at too far a distance from the speakers - i.e. the soundstage is like on top of a Norwegian mountainscape - all digitally effected, of course.

Oddly enough, my all-time favourite Konitz is on the three Nonet LPs, which are a wonderful continuation of that famous band he was in:

The Conception and the extended OJC of this give all of Konitz on Prestige, BTW:

They are available on this single CD: Original Jazz Classics OJCCD-1726-2 Track list: 1. Odjenar performed by Lee Konitz - 2:51 2. Hi Beck performed by Lee Konitz - 3:05 3. Yesterdays performed by Lee Konitz - 2:25 4. Ezz-Thetic performed by Lee Konitz - 2:51 5. Indian Summer performed by Lee Konitz - 2:32 6. Duet for Saxophone and Guitar performed by Lee Konitz - 2:37 7. Conception (Shearing) performed by Miles Davis - 4:01 8. My Old Flame (Coslow/Johnston) performed by Miles Davis - 6:33 9. Intoit performed by Stan Getz - 3:20 10. Prezervation performed by Stan Getz - 2:41 11. I May Be Wrong performed by Gerry Mulligan - 3:27 12. So What performed by Gerry Mulligan - 2:44 The Mulligan tracks are in fact from a 1950 Chubby Jackson big band session featuring Mulligan. This CD is one of the few possibilities to get the two Konitz/Bauer duets!

Agree with you on Eubanks' growth - saw him live with that band and liked him much better than on the CDs. But I'm biased, as Priester is my all time favourite trombonist.

Priester was an important voice in that (first) edition of the Dave Holland Quintet. On the next album, Robin Eubanks replaced him. Many consider this to be the most interesting edition of Dave's quintet. I have to admit I like Priester much better than Eubanks in this band ... I like Priester best on: 1) Sam Rivers' Dimensions and Extensions (Blue Note) - that most unlikely horn section of Donald Byrd, Julian Priester, James Spaulding and Sam Rivers works out excellently, to these ears, and Priester cleverly stays on the thin line between inside and outside playing. 2) Herbie Hancock's Mwandishi (Warner Brothers) - his solo on "Wandering Spirit Song" (which he also wrote) is so beautifully forlorn, always on the verge of getting lost in background, truly illustrating the song's title.

My thoughts exactly!

So one can change the board name without having the post count being set back to "1"?

Not exactly today's buy, but arrived after several weeks since I placed the order: Highly recommended!

I almost dare not say it, but I lost most of the hard bop stuff on Blue Note after listening to it for more than ten years. I had a complete 1500 series collection and sold most of it. I still can appreciate its contributions, but I'm afraid I've listened enough hours. But this happens to me all the time with many different types of music, so it may be only temporarily.

That back cover posted above, BTW, is only the lower half, with the album title pasted in, cut to coveniently fit a CD case and still be readable.

Priester covered a wide range of styles in his career. Consider the leaders he played for as a sideman: Sun Ra Max Roach Art Blakey Herbie Hancock Duke Ellington His own records covered hard bop, electronic funk, free improvisation. I have a CD titled Quartet, a collaborative effort using free improvisation, with Jay Clayton, Gary Peacock and Jerry Granelli, that comes off pretty well. His contributions to Reggie Workman's two excellent CDS on the Postcards label are worth hearing, as is the duo CD on that label with Sam Rivers. So in his favour, I guess he had a bad night .....

I just sent rockefeller center a PM with a link to this post and asked him to decide - let's see ... B)

Now it is ... B)

Hm .... anybody here wanna buy my mint condition CD for US $ 80 ?

"You Gotta Take A Little Love" still awaits a US reissue. No wonder some people get ideas like this. Was there a Japanese reissue?

Thanks for pointing this out - I was aware of this, but am not willing to pay $ 55 for a used CD!

Don't forget the Columbia label name belonged to British EMI at the time ... These complex distribution deals are what make the otherwise nice photos in the book so useless as a discographical reference.

I got it as a present from some who thought it was great - I couldn't break her jazz heart, though ...

Portrait of the artist as a young woman ?

I have that book. When I browsed through the discographical pages or the recommendations, I wished I could cut the author's throat with a blunt knife. he seems to ignore every non-British issue made after he acquired his collection. Since most of these have different covers, titles or tracks it is almost useless to the non-British collector, and even the islanders won't have much fun considering the issues available today. Splendi isolation lives on in the head of this diehard old-fashioned collector. The text and historical outines in the book are okay, but the discographical part is a desaster, considering it is supposed to be a buyer's guide. For those interested in historic British reissues, the book is John Fordham, Jazz. I have the German translation, and the fact it was translated and "editorially worked over" by Peter Niklas Wilson, one of Germany's better jazz authors, doesn't shed a good light on the book or the budgets involved. Sonny Rollins wrote an intoduction ...

I' totally in agreement with your comment on the Verve boneheads. After the Charlie Parker Verve box set I thought they would give Dizzy the same complete treatment. But no, they did that 4 CD set called Dizzy's Diamonds. Not Kenny Washington's fault, who did a great job considering the wealth of material. I think it was the sheer quantity that made them shy away from a complete set. But they could have split it up into several sets featuring his working groups including the big band, special projects, and all star collaborations including sideman dates. They wouldn't have sold less copies than a Nina Simone set.

If it's illegal - is there any precedent? Papers etc. protect those parts of their sites with copyright protection by passwords, everything that is freely accessible should be quotable - but please all make sure you give th source of the quote. A link, IMO, functions pretty much the same way as a quote, doesn't it?

The name of the man in question is Tadayuki Naito. It is only one gull, by the way ...