Kalo

Well, it's quite a discovery for those who like this kind of thing. No big deal for those who don't. But I think many people would be surprised at how good this music is, and also at the variety. If you don't like lots of brass ignore it, because there IS lots of brass, but hey, there's one long Clare Fischer chart which has NO TRUMPETS at all. ← Kenton without trumpets? Is that allowed?

Uptown's Bob Sunenblick and I (to a lesser degree) have been chasing this for many years. Lots of info, lots of dead ends and a bunch of stuff unconfirmed by circumstance. We are "on the case"! ← That would be another "Release of the Year" (release of the decade?) on your counter, Chuck! ← I agree with that. Would love to hear this. I think this example definitely qualifies for this thread, because even if recordings are "known to exist", they're kind of difficult to hear until they're actually found! ← And if they're not known to exist, or at least rumored to exist, how would you know to look for them at all?

Around 20 years ago buddy of mine who was a big Wynton Kelly fan had this and I remember listening to it a lot with him. Good stuff. I'll have to track down a copy.

Around 20 years ago buddy of mine had this and I remember listening to it a lot with him. Good stuff. I'll have to track down a copy.

I can happily feel superior to this nutcase, as I'm nowhere near that anal. However, I feel for Aggie87. Water (or other liquid) damage really bums me out. I have a few CDs that were damaged by a rainstorm in the same way--and it bugs me a little every time I pull them out. It's even worse with books: even minor water damage makes me want to discard them as ruined.

I vote for putting them at the end. Yet, in some cases, as several of you have mentioned above, putting them sequentially can make sense. For instance, I like the way Mosaic put the alternates to Sam Rivers's "Downstairs Blues Upstairs" all in a row. Interesting thought there. The idea makes sense. Yet I still think I'd prefer to hear them at the end. And, as someone else mentioned, for "scholarly" sets it can make sense to have things in strict sequence. The most perverse inclusion of an alternate take to make a scholarly point, that I know of, was Gunther Schuller's inclusion of two well-nigh identical takes of "Rose of the Rio Grande" on the Smithsonian Records Duke Ellington 1938 LP set. The point of this was to show that jazz musicians don't always improvise their solos: "..it is audible proof that Ellington's soloists often committed solos to memory and played them the same way--with but minor deviations--night after night, often over a period of years." You're Gunther Schuller, man, we'd believe you if you just wrote it, rather than having to hear what sounds like the identical record twice. And Lps you couldn't re-program. I'm with you on that.

That's what came to mind for me. I agree that it's not as big a discovery, but the story of how this was discovered is as improbably amazing as the story behind the Bird and Diz at Town Hall discovery.

I agree that "Life On Mars" certainly IS one of the best songs from the Bowie album Hunky Dory. But that Hunky Dory is Bowie's best album??? That's where we part company. ← Well, it's hard to say that Bowie has a "best album." Hunky Dory is among the least flawed albums he's produced. One thing about this list that amuses me is the inclusion of "Sympathy For The Devil." What does it say about Britain? Seems to be aimed at the American market, with its JFK reference. I'd vote for Nick Lowe's "American Squirm," except it wasn't ever a hit. Among the greatest opening lines of any pop tune: "I made an American squirm/And it felt so right."

I need to get your book, Larry.

Can you play it through the Charlie Christian Box "amplifier"? That is one goofy package. They don't sound like the same guy. Wish I'd thought of that one!

Welcome back!

I heard some of this on the radio recently and will definitely get it. I had the LP years ago and sold it; I found the guitar synth hard to take. I believe I saw a quote from Metheny saying that he ramped back some of the more extreme effects in the mix for this reissue. I'll file it under "C" for Coleman as I don't have a Metheny section.

I have these two on vinyl: 107 Joe Guy & Hot Lips Page "Trumpet Battle At Mintons" 123 "Sweets, Lips & Lots of Jazz" w/Edison, Page and Eldridge Great stuff. I like the idea of Mosaic doing a "Complete Newman."

OK, so the guy is competent in a straight-ahead context. But a "Giant"? Shouldn't that term be reserved for those who shaped the entire course of jazz as a musical form? Armstrong was a giant. Was King Oliver a giant? Yes to Jelly Roll Morton. Certainly to Ellington. Parker, definitely. Gillespie, arguably. Monk, Yes. Mingus... qualified yes. Coltrane, yes, for better or worse. Thought experiment: was Roy Eldridge a "Giant"? Who alive today is a "Giant"? Rollins, perhaps. Jackie McLean is a great player, but a "Giant"? Not so sure. So, then, how do Sanborn and Botti compare to McLean? To, say, Metheny, for godsakes? Some people need to learn how to talk. ← I certainly wouldn't dare call him a "giant", "legend" or even a good straight-ahead player (I wouldn't know). However, I think sometimes it's easy to lump all these people together when there certainly might be distinctions between guys like Botti and Connick vs Kenny G and that kind of thing. Is Harry Connick going to be on par with Jackie McLean? No, but these are all apples and oranges. I just think jazz boards with guys listening to Albert Ayler records are going to be pretty predictabley hard on Chris Botti. It's a real easy target. ← I agree, Soul Stream, that there are degrees here. There are few players as reprehensible (or as popular) as Kenny G. I can't begrudge guys like Sanborn and Botti that they make a living; especially if they have a sense of proportion, as Sanborn and Botti apparently do according to previous posts in this thread. Hyperbole is a perennial problem, and its subjects aren't all to blame. Still, I don't have to listen to these guys.

Absolutely, and don't forget this one for more great Shelly Manne..... Sonny Rollins and the Contemporary Leaders ← You've got to love that Rollins stuff on Contemporary... and Manne is one of the reasons. ← I think I love the alternate takes even more. ← The Alternate of "I'm an Old Cowhand" is in contention for my favorite Rollins performance ever. Talk about "thematic improvisation"!

Von Trier, Cassevetes, and Herzog. All in a row. Are you some kind of cinemasochist, Brandon? ("Plough through" isn't exactly the most spritely of adjectives to apply to a voluntary project -- or are you being coerced in some way?)

Shades of Johnny Ace!

scodavdrum@aol.com ←

Lets hope this helps bring him back. I miss Larry, too.

OK, so the guy is competent in a straight-ahead context. But a "Giant"? Shouldn't that term be reserved for those who shaped the entire course of jazz as a musical form? Armstrong was a giant. Was King Oliver a giant? Yes to Jelly Roll Morton. Certainly to Ellington. Parker, definitely. Gillespie, arguably. Monk, Yes. Mingus... qualified yes. Coltrane, yes, for better or worse. Thought experiment: was Roy Eldridge a "Giant"? Who alive today is a "Giant"? Rollins, perhaps. Jackie McLean is a great player, but a "Giant"? Not so sure. So, then, how do Sanborn and Botti compare to McLean? To, say, Metheny, for godsakes? Some people need to learn how to talk.

The Complete Blue Note Sam Rivers Sessions -- Disc II

What about them? "Waterloo Sunset" has got to be the best pick on that list. But what about Eno's "Burning Airlines Give You So Much More"? Also, one song each by Nick Lowe, Elvis Costello, Graham Parker, and XTC would have been nice. But that's just me. ← I thought it was common knowledge that "Burning Airlines..." was the best song of all time. I love the artists that you've selected above, but which songs of theirs, man, which songs?!?! Perhaps Lowe and Costello could be collapsed into one: the latter's rendition of the former's "What's so Funny 'bout Peace, Love, and Understanding?" How old are you 'moose? I'm the same age as BruceH. Is this an age-dependent thang?

I'd be curious to read an expansion of what you mean by "(useful) negative" and "song writer" in this context. Strayhorn could also be faulted, if one wanted to fault him, for being too "classical," as in the arrangements he did for Masterpieces by Ellington.

Wasn't that from an episode of STRAY Trek?

Just finished the Hajdu bio recently, and it's a very good book. I could even imagine that folks with only a casual interest in jazz could enjoy this book, as Strayhorn was an interesting cat even apart from his great contribution to Ellingtonia and therefore to jazz and to American music. Strayhorn was a hero both in his art and in his life. Hey jazzbo, who wrote that script? I'd be curious to read it. I could see Don Cheadle playing Strays. Who would be a good Ellington among today's actors? Fishburne? I've got a copy of that one and will read it soon. I'm not that fmiliar with strayhorn on his own, but it's undeniable that he was the author of some of the triumphant moments of the Ellington Orchestra. He deserved a medal for his settings for Johhny Hodges alone.