Kalo

Katchor is one of the best in the business. He hasn't published anything in book form for a while, it's true. I'll look into this.

What Chuck said. I've always liked McLean's "sharp" playing, but I have one musician friend in particular who hates it. I've always felt that if it sounds good, it isgood. A friend who studied with Konitz told me that Konitz was very pissed about a Brazilian session that he played on where they artificially corrected his pitch for the final product. He plays a bit sharp on purpose: that's his sound. Clem mentioned Kyle Gann. It was reading him in the Village Voice that hipped me to the amazing history of tuning in Western culture. Having played in a South East Asian music ensemble in college, (not to mention playing and or listening to jazz, blues, rock, country, etc.) I already knew that there were many ways of being in tune, but Gann was the first writer I read who really layed it all out there. Even Bach played in "Well" rather than "Equal" temperament, contrary to popular belief. Fascinating subject...

Actually, I did notice, and I know why. They hit the back button to correct their post, but neglected to delete the previous version of their post. If you look at each "duplication" you can see that they differ and that the second post corrects a mistake in the first.

I hadn't noticed.

I hadn't noticed.

Early Clash most assuredly is. Yea, I never really got the idea that the Clash were really "Punk". I tend think of bands like The Exploited or The Sex Pistols. The Clash were always little more polished. That said, I would much rather listen to The Clash than the groups mentioned, and actually I think it's about time to throw a little London Calling on right now. Bill Have you ever heard the Clash's first, self-titled, album, or any of their first few singles? If that isn't punk, then neither are the Sex Pistols, Ramones, or Buzzcocks. Perhaps the trouble is people tending to think of the sound of London Calling as the sound of the Clash, period. That's like judging the Beatles entirely by the White Album. The early Clash were like the third British punk band ever. No polish at all on that first album. In fact, Epic didn't release it in the U.S. until after their second album, because it sounded so wiry and tin can scrappy. Even when they did release it here, they included some more powerfully recorded later singles and left off a few tracks (shades of Capitol and the early Beatles!).

Okay, I'll admit it. I'm impressed! Yeah well, you didn't know that Han is my homeboy? When I met and talked to Han last Friday night after the ICP gig in Boston, he shook my hand with a vise-like grip, bearhugged me and punched me on both shoulders (in a friendly way). He's really strong for an old guy, as if you couldn't guess that from his drumming!

Gerry Mulligan - The Original Quartet with Chet Baker (Pacific Jazz/West Coast Classics, 2 Discs CDP 72434 944072 2) That about covers it, plus: Konitz Meets Mulligan/Lee Konitz and the Gerry Mulligan Quartet (Pacific Jazz, CDP 7 46847 2)

I agree that these have been superceded. But we also should remember that over 20 years ago, when Mosaic first issued them, these seminal sessions were unavailable in the U.S. Not only that, but Mosaic demonstrated to the industry that there was a market for these "completist" sets, which have since become legion. Not to mention that the books are nice. That, too.

I agree that these have been superceded. But we also should remember that over 20 years ago, when Mosaic first issued them, these seminal sessions were unavailable in the U.S. Not only that, but Mosaic demonstrated to the industry that there was a market for these "completist" sets, which have since become legion.

How about Keith Jarrett sings Glenn Gould?

My abject apologies to everyone for the following: Jackie McLean Plays Gene Pitney

I only accept prime number Mosaics. That way, every one I own I can call "a prime Mosaic."

You know what happens when you "assume", don't you? Umm... yeah. But in this case what other logical explanation is there?

It's been a while since I bought one of the big sets, the last being the Sam Rivers. But every one I've ever bought, and I own a lot of them, had the set number written in by hand. My assumption was that they wrote it in just before they sent it to you, which would mean that they are shipped in numerical order.

Seems like a no-brainer that they'd remaster these. I'd buy 'em.

Certainly compared to folks like Bogart, Gregory Peck, or even Alan Ladd. I guess that's what he gets for dying relatively young (not to mention being under contract at Fox, usually considered to be the corny, hick studio in comparison to the other majors). 83 is relatively young??? He made some damn good films in the 40's, too bad he wasn't given the same quality of roles later on....Did ya know his brother is Steve Forrest of S.W.A.T. Fame???? My mistake. I somehow assumed that the fact that he wasn't in a noteworthy film after the 1950s meant he died early.

Certainly compared to folks like Bogart, Gregory Peck, or even Alan Ladd. I guess that's what he gets for dying relatively young (not to mention being under contract at Fox, usually considered to be the corny, hick studio in comparison to the other majors).

"We have asked few additional information which is going to be the part of secure login process. These additional information will be asked during your future login security so, please provide all these info completely and correctly otherwise due to security reasons we may have to close your account temporarily." Keep an eye on the grammar. It always gives them away.

I don't recall the name of the disc, but a friend bought it at the Boston gig and reported back to me that the sound quality wasn't very good. I think that Cadence distributes the ICP discs in the U.S.

I saw them Friday night and my review appeared today: http://www.boston.com/news/globe/living/ar...ambitious_jazz/ It was an excellent show, and there was so much more I could have written, given the space. I spoke with Michael Moore after the show and he was aware of the contradictory reviews in the New York Times and Los Angeles Times and actually quite enjoyed the contradiction. He told me that he had asked the Boston promoter to publicize the show here with both of those reviews printed side by side. I also briefly met Han Bennink, who as you might imagine is quite a physical man. He shook my hand quite firmly, gave me a big bear hug, and then punched me on each shoulder (in a friendly way).

But without, I'd assume, those annoying clicks. (The main reason I eventually got all of the RVG's of this material.) Huh?? What clicks? BruceH is referring to the unfortunate fact that some of the early Mosaic pressings were less than ideal.

I want one of those! Seriously, there's nothing quite like hearing a 78 on the equipment it was meant to be played on. A buddy of mine collects both the discs and the players. The sound is much better and more detailed than you might imagine from lousy LP and CD remasterings; sometimes astonishly so.

Go see the movie... It's about a lot more than just the music.

Go see the movie...