Kalo

Funny, I haven't bought anything but Selects for a while now. Them others is too bulky and way too spendy for me right now (though I do have my eye on the Farmer/Golson Jazztet and the Mulligan Concert Band).

I missed this, too. Sad if true.

What with the prices going up in July, I guess I'll spring for some of the Mosaic Selects I've been eyeing.

Count me in the pro-Shades camp. My second Hill record (on vinyl) and still a favorite. This thread makes me want to pull out Eternal Spirit and But Not Farewell again. It's been ages since I've listened to them.

I guess it's time to plunge for the ones I've been waiting on, too. The looming price increase is a good excuse to spend money -- I can rationalize that I'm really saving money.

You dumped the Hollywood, Larry? Why? I like that one a lot. That being said, I'm always in the market for more Beethoven and really appreciate threads such as this one. I need to check out the Bartok Quartet. I do agree with those who've found the Emerson Quartet to be too smarmy; Schmaltz I can take (it can even be appropriate at times), but smarm is another thing...

My next computer will be a laptop. Just looking for that warm feeling in my lap! Seriously, I'd trust the Organissimo members's recommendations for just about anything at this point. There's a $#!*load of knowledge here.

Great thread! I have that Jazz Panorama book. Definitely time to pick it up again. Charlie Haden is another bassist who "lays it down" in Sangrey's phrase. Anchormen. The glue that holds it all together. Bass is one of my favorite instruments in jazz, which ironically means that I find most bass players hard to take, especially as soloists. I dig the bass in rock, too, at its best: Jamerson, McCartney, Entwistle, etc...

I agree 100% with what Sangrey wrote above. That's exactly what I meant when I used the term "lounge music." The Treniers are/were the real deal, boasting talent out the wazoo, and not to be confused in any way with the snarky, condescending, no-talent "lounge music" revivalists, who I find incredibly lame. For the Treniers, rockin' was their business, and nothing boho-poseur or corporate about it.

Did anyone mention "The Fabulous Treniers -- The Hoss Allen Sessions"? Or is they too crude? Thanks, JSangry!

Can't resist.... Listening to this again...

I just listened to the last track on this CD and I'd have to say that these guys were also heavily influenced by burlesque and minstrelsy. Suffice it to say that Redd Foxx would be proud... I'd elect the last living Trenier, whoever he may be, as an American living treasure!

I feel you, Jazzbo!

I'd consider myself a Craig Harris fan, and will try to track down this issue. Also dig Coleman and Byron when they're inspired.

Wow! These "short lists" sure are long. And has there ever been a better year for "vault issues"? I'm even considering a personal "vault excavation."

Can't have too many books about Fats.

Sangrey! (Italics mine.) I look forward to hearing the Hill show. (And catching up on the Taylor). And our JSangry makes the Costello sound worth a listen, too. ( I have to admit that lately I've been conceiving of Costello, love him as I did back in the day, as a sort of musical doppelganger of Woody Allen, love him as I did back in his day... that is, as in someone who has not only lost the inspiration of his younger days, but who has also well-nigh betrayed it). By the way, did anyone else find the Steely Dan episode of Piano Jazz to be, sort of, well, lackluster? (And I'm a fan of those guys.)

I'm listening to this right now, for the third time. It definitely corroborates the notion that the Treniers were best as a live act (which was their own understanding as to why they never had hit records). I can hear why Sangrey flipped his lid for this. It's the ne plus ultra of lounge music. These guys could really "put it over." Not least, they were masters of swing and jump blues, and pioneers of r&b and rock'n'roll. Having known their studio recordings, it's a revelation to hear their act, especially their "hip" renditions of standards. Hearing this, it's not hard to believe reports that the Rat Pack came to The Treniers's gigs after hours. Earlier in this thread Clem mentioned Nick Tosches's book Unsung heroes of Rock 'n' Roll, from which tome I've culled some of the following information. The Trenier twins (Cliff and Claude) matriculated at Alabama State, Erskine Hawkins's alma mater, in 1939. They claimed to have been thrown out in 1941. They were there at the same time as one Sonny Stitt. That's where they met musical companions for life, Gene Gilbeaux (piano) and Don Hill (alto sax). In later years they recruited brother Buddy and nephew Chip into the group. One of the twins, Claude, was hired as a singer by Jimmie Lunceford in 1944 and recorded his first vocal with Lunceford's band in December of that year. Supposedly Lunceford called him "the Sepia Sinatra." (In January 1946, Claude Trenier provided vocals for three of four numbers, most notably "Weird Nightmare," recorded under the leadership of Charles "Baron" Mingus for his second session on Excelsior records. These are currently available on Uptown Records UPCD 27.48) The Treniers signed to Okeh shortly thereafter, recording their best-known sides, including "Go, Go, Go," and the immortal "Poontang." After their short-lived sojourn at Tony's Fish Market, they became longtime denizens of various Vegas lounges. As far as I know, the last living remnants of The Treniers are still inhabiting Vegas.

"Kenny G. Live in Fresno" What kind of headline is that? Very "Dog Bites Man." Now here's a headline for you: "Kenny G. Dead in Fresno." I'd read that article.

One of the better pieces I've read by Ratliff.

Wasn't Beethoven 1/8 African?

Yes. Good call "Red." You put your finger right on it. And I love Larry's description of Ware's style: "master of oblique primal simplicities." Now that's writing! And could Wilbur Ware have had a better name? I think not. Somehow his name captures his style, for me at least, in the same way that Monk's somehow encapsulates his. I just got this album the other day and have listened to it a few times with increasing enjoyment. So far I'd agree that it's essential for Ware's work alone. I look forward to a long soak in this music.

Finally succumbed to the season and put this one on: Vince Guaraldi - A Charlie Brown Christmas (Fantasy)

So does this mean that we have to start snapping up all of the Telarc "Unoriginal Jazz Non-Classics" issues?

Good prices and great music. If you've got the dough, then I say GO!