neveronfriday

The "label" is really rollin' out those 10-CD boxes: List New (I think): Goodman Parker Reinhardt Fitzgerald Waller Armstrong My problem is that I probably have 50% to 100% of all the stuff, but I might still go for them. BTW: these have been regularly fetching prices around Euro 20 and more although they can all be had from JPC (Germany) for 9.99 (and probably 2001 as well).

That's the one I'm going to go for first. Need some more of June's recordings for my weekends.

Dark Side of the Moon Wish You Were Here Loved those. Saw the Live in Pompeji several times (TV, 70s?) and liked it. I HATED The Wall. Still do. Animals? Neutral. Never caught on with me. Lately I found myself shying away from getting some Floyd, again and again. No idea why. I watched the Live8 performance and decided to get some CDs but they got thrown out of the Amazon basket in favour of some other stuff ... again. Weird.

Coleman Hawkins. The Hawk Flies High. I only have this one, but it must be a step up from all other issues. Simply love it. Edit: Superb sound, of course!

Gee, I didn't think so many people would chime in here. Thanks for all the recommendations. I'll need some time to check all of this out, but I'm looking forward to discovering some new stuff. I think some of the albums listed above are already too "wild" for me, even if most of you would consider them to be rather "tame", but I'll have a closer listen to all of them. What fascinated me about the Mapleshade solo-CD were three pieces: Rhythm-A-Ning, One Up, One Down and especially Love Is the Key. The rest was also very good, but those three are really original and show a) an almost uncanny melodic sensitivity (if you know the originals, you might hear what I hear) and a deep emotional involvement in the music. Spiritual involvement is perhaps the better way of phrasing it. Too many it might sound like just another series of drum solos, but to me (listening with a drummer's ear) it is a totally unusual approach by someone who thinks musically and melodically and not (really at all) rhythmically. Let me try to work in a personal anecdote here to illustrate what I mean: -= snip =- I know this concert pianist who was quite known around here for about 10 years or so and whom I had constant fights with. She played everything by the book, her improvisations being perhaps shifted accents, a softer attack or whatever. She abhorred any free improvisation and simply refused (and I mean that) to listen to all this "wild" stuff I was listening to. When she stopped playing publically and after having tried again and again I once got her to try to improvise one evening (after a couple of glasses of wine), starting from a composition of a Venezoelean composer (I forgot the name). It took her a while to figure out the rhythmic structure which seemed totally alien to her classical senses, but because the composer had only sketched out the body of the piece, there was a lot of room for improvisation. After about an hour of working on this piece, suddenly, from one moment to the next, her own interpretation of things started creeping in and after about 20 minutes of that, she really took off and played some of the most wonderful stuff I had ever heard her play. She started pouring her experiences from living in South America for many years in there (it seemed like she suddenly understood what the guy had intended with the piece), she twisted and turned it upside down, started including ferocious atonal runs, she set up call and response patterns, slowed it down, sped it up, etc., etc., etc. It was absolutely stunning and lasted for nearly an hour without a break of any kind. She was totally lost in whatever she was doing. Still today I'm really sad that I was unable to record any of it. Just a small crummy tape recorder would have been enough. When she was done, she literally had tears in her eyes. She got up, gave me a kiss and left the room. She never played like this again, ever. I can be sure, because it was my mom. We never talked about it either. Still today it's almost like a taboo topic. -= snip =- Some of the stuff on the Carvin CD reminds me of that evening. I'm sure most people who listen to it don't get it, but the man is pouring his heart out on some of the tunes, literally. Some of it made the small hairs on my arms rise, most of you might just turn it off because you think it is noisy. I also believe that this might be a one-of-a-kind recording for Carver who, according to the notes, had waited forever to record this stuff. Maybe it was as emotional as I perceive it, maybe I'm just interpreting stuff into what I'm hearing, but hey, that's what music is supposed to do, ain't it?

I used to as well. It's just that I simply don't have the time to read one relatively fast anymore, and I just HATE doing that 10 pages a night thing. Takes all the fun out of reading.

Hi, the other day I tripped over a drummer's solo recording, "Drum Concerto at Dawn" by Michael Carvin. A very cerebral yet at the same time intensely emotional player. The booklet lists a whole bunch of musicians Carvin played with. Anyone here have some decent recommendations? I'd like to check the guy out in a band setting. Because I have given up indexing my collection, I might actually have some of his recordings, but I don't feel like getting a hernia lifting all my stuff around. So, I'm looking for recommendations outside of avantgarde/free jazz which, as some quick googlin' uncovered, Carvin has also been involved with. Thanks!

Theodore Sturgeon. Theodore Sturgeon. Theodore Sturgeon. Not all SciFi though, not by far. Harlan Ellison (although he can be darn arrogant at times). I think I have everything Dan Simmons every published (horror fiction was one of my guilty pleasures for about 25 years), but I'm not such a fan of his SciFi stuff (although it is very good).

Hope you don't encounter any problems along the way. Good luck!

Yes, very nice. I'm having a cool glass of wonderful French Rosé along. Fits perfectly.

Great one! Wish I had it here! (But I still need to spin some Per Henrik Wallin, as far as memorial listening goes.) ← I've got it ... It just replaced Goodman at Brussels 1 & 2 on my C D player. Michelot is all over a lot of CDs I have. To be quite honest, I didn't even know how many. I'm just starting to find out. Too many bass players disappearing lately. Very sad.

This ... is still my favourite beer. If you buy it in Denmark, that is. Some of the export beer is brewed to the standards or according to the laws of the country it is exported to, so beware. A Tuborg ain't always a Tuborg. AND, there are many lovely variations which all taste briliant.

My 500 GByte WD RAID fried not so long ago. Unfortunately (because of warranty) I had to go with WD again. They suck.

Youre right of course. So far the posts indicate that many people think that finding good jazz in odd places is already bizarre. I'll add this one then. I once bought a Dave Brubeck LP off a Dominatrix (is that the word?) in her studio. And no, I was not a customer there. I also refrained from asking what she had used the LP for or under which circumstances it was played, but the LP was in mint condition, so ... Last year I saw that she's still in business. She must be in her middle/end 60s now. Talking about dedication ...

Actually, all the places that I still find a more than decent jazz selection at are somewhat bizarre. Comes with the times.

I thought I was Internet and network savy, but all this vining talk doesn't tell me anything (there was some M. Davis vining talk a while back ... and no, it was not the M. Davis whining thread). If it ain't too complicated, I'm in. (If it involves using the thumbs of both hands simultaneously, count me out).

I couldn't care less. If the recording is good, it ain't gonna hurt me and if someone is plugging crap he/she will be found out in a few minutes. There are just too many knowledgable posters here NOT to notice that kind of thing. And, if it wasn't disclosed beforehand, we get the added pleasure of watching certain well-trained members pounce on the culprit. That usually brightens up the day.

Well, just to add my unqualified two to three cents here. a) I'm sorry the welcome wasn't as warm as it usually is around here ( ) but SeeWhyAudio sounds like the guy who can get over that in a flash. b) I find this thread fascinating. I've been toying with the idea of hi-res player and recorder, but I just haven't had the money yet to blow on a format which seems to be on the endangered species list (SACD would be the way for me to go, adding DVD Audio as well, depending on developments in either camp). I still might jump on board because even if the horse is being/has been pronounced dead, we can still flog it for a couple of years (DAT tape, anyone? Been around for ages and still being used by a whole bunch of people). c) Last point: I enjoy the in-depth and very knowledgable posts here. Keep 'em coming. There's been tons of stuff to learn here and I for one am hoping for more.

Cool. Finally another Mosaic I would invest money in.

Hey, we all grew up in the digital age (at least partly). Write first, then think (if you have the time ... most people don't). Man, I sometimes long for the times when people still wrote letters. They sat down, thought for a moment or two, then put pen to paper and proceeded to write down what they had contemplated at some length before. The ones I got did not have all of those errors. The same people now send me illegible and demented e-mail ... .

There's the silver lining though: we can blame it all on Helmut Kohl (1982).

And that's NOT including taxes, outrageous fees charged by shipping companies to finance their night out, etc. It's basically the price of any one Mosaic on eBay. Edit: Those "n"s ... my keyboard sucks.