Daniel A

13. I'm only "upgrading" when there are previously unissued alternate takes. Otherwise I'm sticking with my McMasters, a few JRVGs, or - if I'm lucky - TOCJs.

Let me put it this way, Aggie: I think we may strongly suspect that all European releases will feature the Cactus Datashield copy protection; either until an even more powerful protection method comes along, or the most unlikely event of a complete boycott...

The deal wasn't that terrific. The buy-it-now price for the Rivers was $100, rather than $50.

One number is missing from your link, Chuck. Here's a link to the thread Chris posted: http://forums.allaboutjazz.com/showthread....=&threadid=3115

You have convinced me to give Mode for Joe another try! I think I will get rid of the McMaster - which I haven't listened to for over a year - without trying it again and get the RVG. But no Cactus Datashield for me, though.

Are you discussing track 7? I haven't a clue on pure musical grounds, but doesn't it sound as if it's recorded in mono? It doesn't sound as it's from an LP (which could be a mono pressing), so I suppose the recording must be in mono. In that case it couldn't be much later than the early sixties, not even if it was recorded in Europe (which seems to have been a few years behind the US in adopting stereo recording). Now, track 14 is in mono, too, and it was recorded much later. I have no idea why (most of the album the track came from is in stereo, but with a few mono tracks in the middle).

You're welcome, vibes! The thing is, I was almost sure that I read this somewhere on this board. I couldn't find the info, so I made a search on the AAJ board instead, which came up with this thread: http://forums.allaboutjazz.com/showthread....=&threadid=2381 Rooster links to a thread over here where information about the Pearson Select is said to be found, but the link doesn't work. Has that thread for some reason been removed?

I think I remember it was announced somewhere that it would include: The Phantom (1968) I Don't Care Who Knows It (1968-70) How Insensitive (1969) Merry Ole Soul (1969) It Could Only Happen with You (1970) With the exception of 'I don't Care...', a collection of leftovers from other sessions, none of these has had US CD release, and I believe that 'It Could Only...' hasn't been reissued on CD anywhere.

Reinier?

All right, Jim! Here's what was on track 14 If you happen to come across any pictures of the pianist on that website... he doesn't have that haircut anymore.

Sorry if I was unclear. I was thinking of the upcoming blindfold tests, and my thought was that the CDRs should be given a few days more to reach a reasonable amount of the participants before the "discussion" thread is started, to allow some more members into the discussions from the start. No offence intended to those who got into the task with such enthusiasm and skill! It just appeared that some people got their CDRs when the discussion already filled several pages. I understand that it's unresonable to wait for everyone to receive their discs, I just wondered what you'd think about the idea to kick off the discussions when a few more have had the chance to play the disc through.

Hi folks! I've enjoyed the first round of the blindfold test immensly, and it appears that everybody else have, too. I just have some thoughts regarding the braistorming around the identification of the music in the test. Do you think that we should wait a few more days after the discs have been sent before the discussion starts, so that more people may actually have listened to the disc and be able to participate from the start? For instance, when a sufficient number have received the disc, the compiler of the test could just annouce that the discussion may start. I realize that it may be frustrating for those who get the disc first not to be able to post about it, so this may not be such a good idea. I just thought it would be fun if the discussion that leads up to the - hopefully - correct answers would be as collective an effort as it could be. What are your thoughts on this?

Some comments, then: #1 - I'm not at all familiar with this era, so I wouldn't even dare to take a guess. Leaves me a bit indifferent. **½ #2 - I have this. There are tons of other great stuff from this artist from the late 50s/early 60s. Undeservedly little known, and unfortunately it will probably never be either. ****½ #3 - I would have thought that the drummer was Kenny Clarke, but it appears to have been confirmed that it was not the case. Or? Mono recording, which suggests that it's either recorded pre-1960 or in obscure European studio. **** #4 - Have this too. I wish that the arranger/leader could have spent more time within jazz. **** #5 - The saxophonist's tone and vibrato reminds me about how Lucky Thompson could sound, but he didn't play that fast, did he? Fast playing á la Griffin often sounds as it comes just too easy to really be involving. This sounds different to me, though. **** #6 - Thoughtful piano playing (that sounds somewhat thought out in advance). *** #7 - The altoist's phrasing sounds boppy enough to make me think that this is perhaps older than I first thought. The theme sounds as if it's a late 60s thing. Can't say that it grabs me too much. *** #8 - Don't think I have any jazz violin in my collection. The vibrato of the first violinist makes me a bit nervous. I like the second one better, although it doesn't sound as if he's plaing with a smile (in contrast to soloist No. 1). **½ #9 - Turned out to be more straightforward than the intro suggested. Not my bag, though. *** #10 - Some mildly unorthodox voicings first suggested to me that it's not arranged by anyone who was making a living by handing out faceless stuff to others orchestras. But I could be wrong. Could it be some obscure 70s Ernie Wilkins album? ***½ #11 - The tenor player is obvious enough. I don't think I have anything by the trumpeter, though. A player who came of age during the 70s, but got lost in the shuffle because he persisted with playing hard bop and then never really breaked through, perhaps? Fine as it is, just a tad too formulaic for me. ***½ #12 - Is this marimba? Probably not anyone I've heard of. Initially, I though this wasn't anything for me, but the arranged part in the middle saved the day. And the following marimba (or is that perhaps a plain xylophone?) solo is not at all that out than I would have thought. It appears to grow onto me. **** #13 - Really creepy soprano sound, and sometimes just to sweet in tone for me. Nice guitarist, though. *** #14 - I know what this is. It's some distance from what he (the pianist) usually is doing. Can't say that I've ever heard him play a jazz standard. I've heard him play the Fender Rhodes more than once, though. Do you want a link, or wait for Tony's Monday post? **** I really wanted to develop this a bit more, but I'm out of time for now. However, this test is a great concept which I hope will live on!

Digging up old threads just to add an " " seems meaningless. Unless, of course, you're looking for flamewars...

I'm sure I'm missing something; I always thought 'Mode for Joe' was Joe's least enjoyable BN album. I would say that 'In 'n Out' is the one I'm digging the most, with 'Our Thing' and 'Page One' just a notch behind. (Anyone else who thinks Joe and Kenny were one of the best tenor-trumpet matches ever?) How should I approach 'Mode for Joe' to really get into it? By throwing away my McMaster and giving it a fresh start with the new RVG? I must admit that the sound on the old CD always has been a letdown for me.

See also this: Jazz - the result of mental health problems?

The disc reached me about 30 seconds ago, and it's now in the CD player. I've avoided this topic on purpose until I've had a first listen; there seems to be much to catch up with in this discussion, but I hope to be back shortly.

Actually, what I meant was that if Greg's articles were all in high scool papers...

My attempt at a thread like this at the BNBB a couple of years ago misfired after just a few posts when a couple of liners some members brought up turned out to have been written by a couple of other, distinguished board members. Even so, every now and then I'm baffled by what makes it to the sleeves. There are other examples (I'll dig some of them up), but what prompted me to start the tread was this quote from the notes to Paul Chambers's 'Whims of Chambers', written by Leonard Feather: "I would call Chambers a gas, except that it is depressing to think about gas chambers"... :rsly:

Come on Dmitry! Not everything is to be found online. As a matter of fact, I don't believe that any of the articles I wrote for our high-school paper are online!

Interesting! Who are the other musicians? And what about the style? A lot of the Mainstreams were time-locked in a less than flattering way...

Obviously it wasn't on your priority list, but I would like to put in a word for the J.J. Johnson set. It will most likely go OOP soon, though it appears to be very slow-moving (I find it nothing short of incredible that it has been available for seven years without selling out). You won't regret it, the music is wonderful. Besides, most of it will probably not be available again for decades.

Thanks for the info, everybody! Sounds very interesting, GoM! That interview (should it happen) woudn't be available on the web though, would it?

You'll perhaps find something of interest in this thread: http://www.organissimo.org/forum/index.php...blue+train+sacd

I recently got to hear George Russell's 'Jazz in the Space Age'. I didn't recognize the sound of the tenor saxophonist upon hearing the album, and I was very surprised to find that I had never heard of his name, David Young. Whatever became of him? He has a fine extended solo on one of the cuts on the album - can't remember which one - but unfortunately it's marred by several very audible edits.