John L

I've never heard it, but now I'm intrigued. Anything "much better" than Live in Europe must be something close to the greatest jazz album every made.

I love Shostokovich, but I "shelved" the fourth after I listened to it a few times. This thread has inspired me to go back and hear it again.

I remember when that Harlem Club tape was first uncovered in the 1980s. They were playing the whole thing on a radio show and I almost drove my car straight into the Piggly Wiggly store. Thank God for that tape!

Wow. I didn't even realize that this was going on. The availability of Fats' recordings in recent years has been patchy at best. It will be great to have the whole ball of wax together.

I agree completely. What also bugs me is when someone comes out to introduce a jazz concert and gives a fervent speech about how jazz is equal to classical music. A variation on this speech is that jazz is better than classical music. The person giving the speech always seems to shout, and to build to a mighty emotional climax when the jazz-classical music comparison is made. I always think, jazz and classical are not alike, and to compare the two head-on is foolish. I have noticed that this jazz is greater than or equal to classical music speech is often given by someone raising money, or campaigning for public office. Even in its more subtle form, I find this very embarrassing, embarrassing for jazz. It sounds like a cover for an inferiority complex. A number of Wynton Marsalis' comments on classical music and jazz really bother me in that respect. He talks as if he is on a mission to prove to the world that jazz can be as "serious" as classical music. He has even made statements to the effect that he only plays classical music for that reason, i.e. to gain more respect for jazz. The effect is just the opposite. Why put jazz on the defensive? It doesn't need to be. We have 100 years of jazz great music, much of it recorded. What else is needed?

He is probably in the 300s somewhere, along with Art Tatum, Fats Waller, Earl Hines, and company. Should we interpret the Brotzmann, Schlippenbach, Art Ensemble, Sharrock, Zorn, Ayler, and Sun Ra entries as evidence that Penguin Guide crowns really do shape listerners' opinions about jazz? In that case, where is Evan Parker?

Interesting that "A Charlie Brown's Christmas" beats out everything by Ellington, Armstrong, Basie, Monk, Parker, Gillespie, etc. Good Grief! Then again, so does Hot Rats.

The first Three Sounds records would make a very strong Select: Introducing, Bottoms Up, Good Deal, Feelin' Good, Moods, Here We Come. Some may argue that the Three Sounds were overrated in their time. But they have certainly become way underrated in our time. I am sure that a Mosaic Select like that would turn some heads around, and would sell far aboe average, perhaps setting the stage for a follow-up.

What is the issued take of Parker's voice? Did Schaap issue Parker vocal fragments on his own label, but neglect to include alternate takes?

Will the new Round About Midnight release continue a few more previously unreleased live tracks from 1956?

Interesting. I wonder why they changed the cover?

There's all of the extra Bohemia material in the Mingus Debut box. A lot of extra Village Vanguard material is in the Mosaic Elvin Jones box. On the other hand, I never thought of those recordings as being in some sort of process of "lurking" aound studio-dominated box sets before.

The two discs of Mal Waldron with Jim Pepper at the Utopia are first rate.

I don't know the movie, but I assume it would be the only version that he recorded in the studio: for Savoy in 1945. No?

So does this method give a guarantee against any sticky fingernail grit fallout?

Some prominent rock critics feel qualified to stand judgement over all American music - jazz, soul, blues, country, whatever - even though they have extremely limited exposure outside of rock. Why even listen to them?

I would show her the door.

I used to meditate to OM back in the 70s. How I did it, I don't know. -_-

RIP: Sad news. I was just talking to Sheila Jordan not long ago, and she reminded me that Duke Jordan was still alive. I will remember him tonight by playing Barney Wilen's live recordings on RCA from the 60s that include incredible contributions from Jordan.

Interesting. I haven't timed it either. There is a separate wall plug you can buy, which works with and without the docking station, that also used to come free in the box with a purchased iPod. Lon: If your Pod is close to full, you should shift your iTunes away from automatic synchronization to manual in the preferences. That gives you full independent control over what you have in the Pod relative to what you have in iTunes. I hope that you are not truncating your iTunes to take things off of the Pod. That is not an efficient approach.

I think that most of the early Blue Note LPs have appeared on CD in one form or another: Sidney Bechet, Thelonious Monk, Bud Powell, Clifford Brown, Miles, Fats and Tadd, Gil Melle, Elmo Hope, JJ have come out in complete form. A number of 10" came out on special 2-on-one-CD issues: Howard McGhee, Tal Farlow, Sal Salvador, Frank Foster, George Wallington, Jilius Watkins. Early Lou Donaldson, Art Blakey (Birdland), and Horace Silver are available. There have been a number of Blue Note "Hot Jazz' CDs, although I don't know if anything substantial remains unissued on CD.

It helps you not lose the iPod, ayou can display your inclusion in the iPod generation prominently for family and friends. More seriously, I use it to play my iPod through the home Hi-Fi. As I am now living in your Rodina (Russia) away from my CD collection, that is an essential advantage for me. But I know of no other real advantage.

I agree entirely in that I wish that the soprano was played less by accomplished tenors and altos. I also don't see the point. I even wish that Bechet would have played more clarinet. I like his clarinet as much as his soprano, maybe even more.

Good to see that Blue Note has still not given up completely on jazz.