John L

I'l be united with my set exactly one week from now. I can't wait!

Thanks, Lon. By the way, there are some complaints on the Music Archive Grateful Dead forum about a skip on disc 2. Maybe there are cleaning that up before they sell any more? Does yours skip?

Did you guys order your Winterland set through the Grateful Dead Store? I got a notification from them that the set is still on pre-order, and will only be shipped sometime later this month.

I was listening to the Miles Quintet live in Europe from the spring of 1960 on Friday, and that got me on a Coltrane 60-61 binge over the weekend: the later Atlantic recordings, Like Sonny, the Village Vanguard box, Europe 61, African Brass, the first classic quartet album (Coltrane). All in all, this may be my favorite period for Trane. The excitement of discovery was very fresh and real. Coltrane was forging ahead, and still hadn't left anything of value behind. Devastatingly good!

Interesting. My opinion is somewhat the opposite. I think that Jagger & Richards are tremendous performers and so-so song writers. Keith Richards' unique guitar sound is much of what makes their best work so compelling. Jagger may not have a great singing voice in the classic sense of the word, but he often succeeds more than "better" singers in really delivering a song in a convincing way. Richards and Jagger appear to need each other, however. For some reason, they sound terrible on their own.

He did but IIRC referred to the Rolling Stones as a minstrel act. There was a big difference between the early Rolling Stones and the mature Rolling Stones in that regard. If that was MW's initial reaction to the Stones when they first appeared on the scene, then it is understandable.

I am not sure about this, given the fact that the music is critically celebrated as some of Braxton's best, is not as "difficult" as much of what came later, is extremely hard to find on CD, has never been remastered well, and the generation that heard it live is still around. Sure, the market is limited. But a good number of people will grab it immediately as a no brainer. A number of others will probably pick it up as a first Braxton set to hear what all the fuss is about, after seeing the strong critical endorsements in the press. All in all, I bet that it will sell as well as the average Mosaic set, if not better Of course, there is the problem that the USA will be in a recession at the time of release, but that will affect all Mosaic sales, not just the Braxton. On the other hand, the weakening dollar should increase sales in Europe and Asia, where Braxton's music has a strong fan base.

The Arista material should fit on 8 discs, depending on extra material. There are two versions of 23G that were recorded but rejected for the Berlin/Montreux Concerts. As for the "Freedom" material, the Complete Braxton was a 2 LP set and Silence was 1 LP. Time Zones with Teitelbaum was 1 LP with Braxton on both sides. Silence and Time Zones were reissued on 1 disc by Black Lion. The word is seven. 7 Seven is the word. The order word I have heard is "incomplete."

Steven Calt is a usually worth reading, even if it sometimes feels like torture. For Skip James, I think that Calt seriously underestimates the richness of the general Bentonia blues tradition, which is misrepresented in the book as only the Skip James blues tradition. In general, Calt always seems to be arguing the postition that a few great blues musicians came up with everything, and everybody else can be classified as second-rate imitators. His arguments are always strong and informed, even when they are wrong.

"Young and Foolish" was recently reissued on CD. Anybody seeking immediate musical inspiration would be advised to pick it up.

Fabulous! This is the holly grail Mosaic set that we have dreaming about for at least 20 years.

I just picked up the Clifford Jordan not long ago, and I like it: very short but sweet. From that list, I would grab the Harold Vick first.

typic Nate Chinen bullshit & nonsense-- typin' loud & saying NOTHING. tickets were way too expensive for edc-- at least Marty gives us freebies, too bad it was for the Stones. (better than Nate Chinen but what the fuck ain't?) I dunno. I'm neither here nor there on Chinen, but I thought it was a pretty descriptive sentence. The ticket prices, I'm with you there. The thing is with Chinen, that that sentence could be said better using most of the same words. For example, "his slightly warped pristine thing of alto saxophone dimensions had a flavor both tart and sweet."

I agree that this doesn't really have the feel of a Wayne Shorter composition. It sounds like fairly generic sunny and bright Bossa Nova, although Chet does a good job with it. "Black Eyes" is also the literal translation of the Russian song, "Ochi Chernye," you know, the one that Boris Badenov always used to sing. But that is a different song. Several jazz versions exist as "Dark Eyes," including one by Diz.

That really is impressive. I have heard that Pops solo so many times that I have it memorized. But I have never heard it with such immediate presence before. That approaches the sonic quality of the later Hot 5s.

I know that Lonehill is a bad word around these parts, and for some good reasons. But it is great that this music is being made available again.

OK, I might not be too rich, but I do qualify as a genuine 70s head. Let's do a thought experiment. How many people here would trade their Grateful Dead collections for Phish music at the rate of 1 Dead show - 1.4 Phish shows?

Bow wow!

Yep, and as well his "hee haw giddy up" cowboy mannerisms on the western stuff really grates sometimes. ...not to mention his hipper-than-Shaft-in-Africa approach to singing blues and R&B.

I thought that Donna sounded pretty good when she sang with the Jerry Garcia Band. In general, I think that she usually sounds fine when she is singing in "soft mode" within her range. Her parts with the Dead that exceeded this range and included shrieks would have been best left out (IMO). On the other hand, I am so used to them now that they no longer bother me that much. I have the same gripes about Bobby, in fact.

I wish I had an extra set. I wish I had gotten one of them. Their site was down when I tried to order the 69 fillmore set on a Friday, and the next Monday, they were sold out. Man, was I steamed. I still don't know why they insisted upon making it limited. Seems to go against what the band is about. I bet it would have sold out at 20,000, even. It was simply a bad guesstimate on their part. No Dick's Pick had sold 10,000, and they thought along the lines that this was a very expensive Dick's Pick, so they honestly believed 10,000 would be more than plenty. They just didn't see the demand at all. And now they're stuck to their word as far as it being limited, at least for awhile. I'm guessing at some point either through a download, or perhaps if something like Blu-ray becomes the more common physical format (if such a thing exists) that they'll reissue it. I own a Bob Marley Songs of Freedom boxset that is limited (#4038) in a long box that was remastered & reissued in a smaller package. I hear the last few Dicks Picks didn't sell at all, considering the quality of those picks 31, 32 I am not sure if the guesstimate was off or not. I am not sure at the time of the availability of lossless SBDs for those shows. Winterland is pretty well circulated so it will be interesting to see how it does. There seems to be a lot of heads who think every show should be free. The antipathy towards Rhino over the shutting down of Speeding Arrow won't help sales much either. I imagine that most people who purchase the set already have the soundboards. So $100 is $100. For me, it is a no brainer. I have the SBs, but I'm still buying.

Fabulous! This may be the very pinnacle of the Dead (IMO). This is THE set.

Nessa records rules!

A faulty drive can indeed by the problem. I once did some ripping on a drive with poor results. The overall sound quality left a lot to be desired, but there were also complete dropouts of sound accompanied by loud static. Once I replaced the drive, I had no more problems.

My only rule is that I give every new purchase a bit of attention before I file it away. This is a minimum of one listen. My collection has reached the point where I don't even think about re-listening to everything in a systematic way. I look at it as a luxury of a vast reference library. I have a huge choice in what I want to hear, can create interesting comparisons and contrasts, can trace entire careers of musicans I like. There are too many discs in my collection that have only been heard once. Usually, that is because they didn't make a big impression the first time around. But not always. I sometimes forget about something good. Therefore, every now and again, I glace through my library in search of "forgotten gems."