John L

Hm. I never fully understood the claim that 3 Sounds are kept OOP. I think that at least seven BN titles have been released in USA and at least another six in Japan only. I count 13 plus a Best Of. I know that people want things to be 'in print' and 'cheap', but isn't 'still findable' and 'not costing a fortune' good enough for those who are interested (as opposed to those who just want to hoover up a cheap 'collection'? I thought the older Sounds reissues didn't sell very well - they aren't popular - and that has been the reason for dropping them. Edited after a recount! What seven titles would that be? I certainly can't recall that many. Some of the later live releases were included in the "Roots of Acid Jazz" reissue wave. Yet those discs are not really from the classsic 3 Sounds era. Black Orchid and Standards may have also been US releases (although I seem to recall that they are European). I have only seen Japanese releases of all of the classic 3 Sounds records from the early years. That is what I have in mind. I can't answer for what you would include or not, but I counted using amazon to confirm my memory (amazon showed more). I actually wrote down the list though I don't have it to hand. What titles don't you think exist in either US or Japanese releases? Oh, the Japanese have released virtually everything, I believe, and some titles more than once. Yet I can recall no US releases of any of the classic early Three Sounds albums, which I think are their most representative and best work: Introducing, Bottoms Up, Good Deal, Feelin' Good, Moods, Here We Come, It Just Got to Be, Hey There.

Wow! I didn't realize that there was so much Pacific Jazz piano trio McCann, most of which I have never heard. I guess that we will just have to tell Cuscuna to put it in one of the big boxes.

What about a Les McCann Mosaic Select of just the Pacific Jazz piano trios? That would be very tasteful (IMO). Similarly, the best of the early Three Sounds albums would make a nice Select.

Well, it is an imperfect indicator. The market itself might be soemwhat shallow. Nevertheless, quite a number of the "Best of" CD were made. You would think that the high price that it fetches on the market does reveal the existence of a non-trivial demand for Pacific Jazz McCann. I am not just talking about one auction, mind you. I am really loving the recent Mosaic Onzy Matthews set, for example. But it is hard for me to believe that general demand for Onzy Matthews is greater than that for Pacific Jazz Les McCann, or for the classic early 3 Sounds albums.

Lat time I looked, the single "Best of" Les McCann on Pacific Jazz disc was going for well over $100 at ebay.

Hm. I never fully understood the claim that 3 Sounds are kept OOP. I think that at least seven BN titles have been released in USA and at least another six in Japan only. I count 13 plus a Best Of. I know that people want things to be 'in print' and 'cheap', but isn't 'still findable' and 'not costing a fortune' good enough for those who are interested (as opposed to those who just want to hoover up a cheap 'collection'? I thought the older Sounds reissues didn't sell very well - they aren't popular - and that has been the reason for dropping them. Edited after a recount! What seven titles would that be? I certainly can't recall that many. Some of the later live releases were included in the "Roots of Acid Jazz" reissue wave. Yet those discs are not really from the classsic 3 Sounds era. Black Orchid and Standards may have also been US releases (although I seem to recall that they are European). I have only seen Japanese releases of all of the classic 3 Sounds records from the early years. That is what I have in mind.

One possibility: 1) Wagner - Tristan und Isolde: Furtwangler edition on EMI 2) Donizetti - Lucia di Lammermoor (live Von Karajan version from 55 with Callas) 3) Mahler - 9th symphony (Bernstein 80s edition) 4) Chopin - Nocturns (Rubinstein) 5) Wagner - Parsifal (Knapperbusch edition on Phillips) 6) Bach: Goldberg Variations (Glenn Gould)

I imagine that some of these opinions were documented. No? Stan Getz' opinion certainly was. Introducing Kenny Barron on one of his late concert discs (I can't remember which one), Getz remarks, "in jazz, we have three pianists: Tommy, Hank, and Kenny."

Thanks for that review, JS. I will have to order this. I had been holding off because I wasn't entirely thrilled with the expanded editions of What's Going On and Let's Get it On. Part of the reason is that virtually all of the best bonus material had been released before, in particular on the 4-disc box set that came out a while back.

It's always said in her defense that they didn't have proper monitors for her, so she couldn't hear herself. (Have I set up a joke or what?) She sure did alright on Elvis's "Suspicious Minds" and the Pure Jerry release (Warner, 3/18/78.) Okay, the defense rests. But yeah, there's some damning evidence out there. I think that it is interesting how much better Donna sounded with the Jerry Garcia Band than with the Dead.

my money is on Booker 'Two Solos' Ervin How bout Harry 'Same Few Notes' Edison? You guys are killing me. Maybe we can add Mal "pentatonic" Waldron to the list?

Kenny Dorham didn't get me with a one round knockout like some other trumpet players. But over the years, he just continues to grow on me, and has now become one of my absolute favorites. It's gotten to the point that I am likely to buy anything with Kenny Dorham on it. Yes, a "beautiful player."

Don't you think the "Donate"-function (link on the top right of the page) is enough? I suppose most of us have a Paypal account. Yes, I suppose so. But I never noticed it before. Actually, I don't have a Paypal account (mine got cancelled under mysterious circumstances), but I imagine that I can set one up.

Jim: Thank you very much for the work and money that you have put into this board. You have created a truly great site. It is not fair at all that you should have to shoulder any more of the costs of keeping this board up. You have paid your dues for life. Let's think of concrete options. Can we set up an easy and secure way to make credit card donations over the internet? My feeling is that you will be able to raise more than enough from members in that case. You could also expand the advertising space here. Given the number of hits that you get, there should be a decent demand.

Just the trumpet playing on Generique would have been enough to put Miles in the pantheon.

I'll just say that I have my doubts that someone born in 1971 was able to see 153 Dead concerts... though he kind of looks like a Deadhead. Very possible, when you consider how many shows the Dead played from the late 80s to 1995, and the fact that a lot of hard core Deadheads with cash in their pockets traveled to almost all of the shows.

I picked up this one yesterday on this thread's recommendation, and can only echo the enthusiasm expressed here: very nice, and much stronger than Underground (IMO). Some of those grooves just don't quit.

We all come to various types of musics from different backgrounds and with different baggage. Jim's point seems to be that there can be some very social-specific baggage that can only be acquired by an outsider as a sort of second language that will always be less than native. That makes sense to me. That is as true for flamenco, for example, as it is for gospel. Yet other kinds of background and knowledge can provide understanding and appreciation as well. Take poetry as an example. Who understands Pushkin better? A native Russian speaker who lives in Russia today, loves reading Puskhin, but has never made a serious study of poetry or the historical period of Pushkin. Or a foreigner who lacks a native command of Russian language and culture, but has spent time studying poetry, Pushkin's work, and Russian history? There is no general correct answer to that question. The former may understand and feel Pushkin better in some cases, but not in others. Of course, they do perceive Pushkin differently, and that is important.

An interesting idea, but rather stupid conclusions (IMO).

(deeply unhappy) I expect you're right about that. One of the problems Gospel has for us for us left wing Jewish atheists is all the conventional stuff that comes with it. (Some days, I just ARGUE back to sermons ) MG See, as a left-wing Jewish atheist, I think I like Gospel a lot better than I would if I were religious. As it stands right now, I have more invested in practically ANYTHING ELSE than I do in the actual "message" of a Gospel song. I listen to it, I understand the words, but they have about as much meaning to me as if they were sung in pig-latin. I laugh so hard when I hear relgious types saying that "if only atheists heard our message, they would convert." I hear it everyday. Often, several times in the same day (just got finished listening to disc four (the sacred songs) of the "Anthology of American Folk Music", as a matter of fact). It doesn't make a difference in my belief system. I've probably heard about how Jesus sacrificed himself for me more than most Christians do (if they only attend church on Sunday), and I STILL don't give a flying fuck. I just like how the music SOUNDS. As suppose that's just as bad as people who tell Alan Moore (the great comic book writer) that they just read comics to look at the pictures, but there it is. Well, I do agree to some extent, though I was really moaning about how conventional much of the message content is, compared to the almost anarchic views that appear to be what Christ's supposed activities indicate. But, to me, the commitment of the singers and musicians to this message is a most important element, so I can't really ignore it. MG Agreed. The spiritual content of the music is often very important. But it is possible to feel that content without having to channel it through any specific religion (IMO).

I loved the Who back in the day, and still have a high opinion of them. But I haven't listened to them in over a decade. No desire.

Monk/Klook was always a blast.

The baseball analogy has its limitations. Music is not sports. If you had a healthy Aaron or Mays, you would never want to play Gus Bell in their place. But the fact that we have lots of recordings by Pres, Trane, and Rollins doesn't mean that we don't want to hear Turrentine. On the contrary. When it comes to music, variety is part of the spice of life. Maybe a better analogy would be sexual partners... :D The "effusive adulation" by myself and others is admittedly subjective, but it is nevertheless real. Turrentine has the power to move some of us deeply.

MG: We have both said our pieces, but I think that we will just need to agree to disagree about Aretha, her innovativeness, and importance as a soul singer. As long as this thread has drifted to the general subject of soul divas, I would like to put in a word for Peggy Scott-Adams. Her case is just the opposite of that of Aretha. She was a good singer in the 60s and 70s, but has only recently reached her potential as a great singer: distinctive, powerful, bluesy, soulful - the whole package. She is as good as it gets in today's southern soul scene.

Thanks, Lon. That is indeed the information that I was looking for.