John L

Maybe age is a dual factor here. There was sure no shortage of FIRE, MOTHERFUCKER, FIRE when Max and Waldron hooked up on "Speak, Brother, Speak." I think that Waldron changed a lot since the 80s. He became much less percussive and more melodically introspective.

Definitely the former. If it is definitely the former, then why is there a danger that it will sell out by this weekend? Or is that your way of saying that Tom was given false information? They've definitely sold far fewer than 7500--the copy I received last week is #5631. The set has no doubt timed out, and they're selling whatever they have left in stock (they don't manufacture the entire potential run of a set at one time, and usually sell out whatever they have in stock when their license for the recordings expires). I see. Thanks for that clarification. I wonder if Mosaic reveals how many of a set they actually made, as opposed to the initial target number.

Definitely the former. If it is definitely the former, then why is there a danger that it will sell out by this weekend? Or is that your way of saying that Tom was given false information?

Any more news on the Winterland 73 box set? Or has that idea bitten the dust for the second time?

I like Airto, but not always and everywhere. I used to hear him all the time in various groups in the SF Bay Area in the 70s, and he liked to take loooooong solos.

Apparently, a number of other Utah Smith sides have been found, and an whole CD is in the works.

Indeed, I have never understood how Marsh can make a living doing what he is doing. His writing has always been terrible.

The writing was on the wall that the real estate bubble couldn't last forever, and that there would be a market correction. Not very many people realized the extent of the dangers of the securitization of mortgate loans, however, which effectively allowed banks to pass off concealed risks to institutional and less experienced investors. Then further financial derivatives of these securities fooled even experienced investment houses. I don't know the average size of a zip code zone, but a square mile might be a good appoximation.

Smooth jazz stations don't just play instrumental music, let alone instrumental pop. Luther Vandross and Anita Baker are big radio favorites, for example. When I am riding on the airport shuttle in DC, where they tune into loud smooth jazz radio as a rule, I always root hard that the next number might turn out to be Luther or Anita.

If you load in some Phil Schaap pause tracks, you can extend a 44 second introduction to 3 or 4 minutes or so.

Smooth jazz comes in different shapes and forms. There is the seemingly machine-generated elevator music-type stuff that doesn't have much to do with real jazz. Then there is the soul jazz + funk quiet storm offshoot that MG is talking about. That does come out of the tradition, for better or worse.

both

He used all of his tools on every recording, that is there is not just one record under his own name where he just sticks to say, tenor. Plase correct me if I'm wrong. I remember that late in life, after the stroke, Kirk did play mostly just on tenor, using one hand. I caught an hour of this material on Ted O'Reilly's old show once, & it was just incredible--& incredibly moving too. I saw him post-stroke playing 2-3 instruments simulataneously.

No, he wasn't trying to sound like a horn section. In that case, as you say, there would be no point. The sound that he got out of multiple horns was unique. It didn't sound like a horn section. That is that point, and he built part of his music on that sound. You might not like it, but there it is.

It sounds like a compliment, just a backhanded slap compliment. I really enjoy those trio albums that Hamilton did with Dave McKenna and Jake Hanna, although even more for McKenna and Hanna than for Hamilton.

That is basically the way that I feel about it as well. I often get particularly interested in devoting attention to something specific that cuts across the usual musical categories: a certain type of blues feel, a certain type of soulfulfness, a certain rhythmic drive. Whether it is "jazz" or not doesn't concern me.

One of my absolute favorites is the 1950 concert that Savoy has released in several formats over the years, most recently on the complete Savoy recordings 2-disc set. The 10 minute slow blues is the hands down highlight, but Pres is really on throughout the entire concert. If you don't have the Aladdin recordings, I highly recommend those as well. Then there is the mid-50s reunion with Teddy Wilson on a couple Verve LPs that is phenomenal. A number of live recordings from 1956 also capture Pres in fine form.

If you are interested in older women, they all go into the public domain in Europe after 50.

Has anybody listened to all four of the Lost Reels CDs? How good are they?

I like earlier Getz, but still prefer the later recordings. My favorites include Spring is Here, Yours and Mine (Glasgow '89), Serenity, and Live in Paris (New Morning, 1981).

That one is beyond cool. I picked up a great original vinyl of that one for about £8 last year on UA. Worth it for the cover alone. The music is also much better than one would probably expect at frst glance. Hmmm. That is one that I have always avoided. But now I will give it a listen. After all, I like the Bond music, and I LOVE Basie.

Interesting: there are two possibilities here. They could apply this rule to all music retroactively, meaning that millions of already released CDs would have to be withdrawn and destroyed. Or it could just apply to music that is not already in the public domain, i.e. it would protect only music made after 1958. I wonder which it is.

I agree, thus deliberately left that German Shepherd out of my Bessie Smith biography.

As edc would say, there's some shit you just can't make up.

Thanks! I'll get this in my March download. Be sure and get this one too: