John L

I didn't participate in the Coltrane Half Note Tree. But from an interaction that we had on this board, it became clear that the Tree included material from the Half Note that was not on previous bootlegs or listed in David Wild's discography above.

Whithout marketing ploys like RVGs, we would probably just spend more money on vodka. Thank you, MC, RVG, RMc et al !

Brownie: By chance, I was going to list You've Changed under Dexter in my post, but then thought about Billie! Darn that Dream is one of my favorite Dexter perfomances(Blue Note version), although for some reason he didn't play that number nearly as often as You've Changed. Add: Embraceable You, Out of Nowhere: Charlie Parker Blue and Sentimental: Herschel Evans Star Crossed Lovers: Johnny Hodges Petit Fleur: Sidney Bechet Chelsea Bridge: Ben Webster Rocking Chair: Let Pops and Little Jazz go to battle for it!

These Foolish Things: Lester Young I Can't Give You Anything But Love: Louis Armstrong I Must Have That Man: Billie Holiday My Funny Valentine: Miles Davis Over the Rainbow: Art Pepper Blood Count: Stan Getz Darn that Dream: Dexter Gordon My Foolish Heart: Gene Ammons

My condolences to you and your family.

I rarely upgrade. I bought heavily into the original McMaster Blue Notes and other early 90s jazz CDs. In most cases, that is what I still have. I agree with Jim S. Unless there is a really compelling reason to upgrade, I prefer buying something that I don't have.

Of course they do! No, but it doesn't hurt.

I find the ODJB to be fun, although I have trouble staying with them too long. Based on the balance of (very limited) evidence, I tend to believe that the ODJB was of genuine major importance in jazz history. They were not really an imitation of a black jazz band, as some histories would have you believe, but played their own variety of New Orleans Jass of the vintage. Their records were highly influential. I also accept the argument that their records were the first recorded jazz. As stiff as they may sound relative to what came later, there is a certain rhythmic nuance to the ODJB that makes them sound like "jazz" as opposed to much stiffer ragtime arrangements that other bands were recording at the time.

Speaking of burning, sizzling Stitt, I noticed that "Personal Appearance" is due for a CD reissue on Verve this year. In my opinion, that is from the top drawer.

Do mean to suggest that great jazz artists are not worthy of the same enshrinement bestowed on sports heroes?

I have always liked this Blue Note session a lot better than the more celebrated "Unit Structures." Superb music. I generally have a policy of not upgrading my original McMaster discs. But if there is a huge improvement in sound, I might take the plunge on this one. What is the verdict on that question?

My birthday is in October. So this is really good timing. As soon as somebody gets wind of the track listing, post it here please!!!

I really like this entire set. As a coincidence, it covers exactly the Turrentine territory that I had little of before that time. The sound on the first three discs doesn't grate my ears. But I am not an audiophile. The big surprise for me on the box was the "Another Story" session with Thad Jones. Fantastic music!

Understood. But here is the dilemma. Suppose you were given the option to trade in your current CD for the same one with a different song in place of the current "Never Say Naw." Myself, I might say naw.

Isn't "modernism" in jazz usually associated with bebop?

I have the disc, and assumed that "Never Say Naw" is indeed a version of "Baby Please (Lost Love)." What in the liner notes led you to believe otherwise? On "Baby Please," Mayfield sticks with "Baby Please, Please Come Back to Me" all the way through. On "Never Say Naw," he shifts toward the end to "Baby Please, Don't Say Naw to Me." The two takes on "Baby, Please" are quite different. I wouldn't want to give one up, especially "Never Say Nah."

I would add to that list up there Lee Konitz: Live at the Half Note. 2 stellar discs with Marsh that (I believe) are still in print.

My guess is Frankie Newton.

I've reached the point where I can't walk into a store like Borders anymore and usually find something that I want. Given that I also don't enjoy Internet shopping, that has helped me cut down.

I'll toke to that. ...although I voted for Soul Station.

Since he is playing tenor saxophone, I assume so. But I have only heard one track from it on a recent Rod Piazza anthology. I can't remember offhand what the saxophone sounded like. Piazza can play.

I also like the Ted Gioia book very much. I think that he did just about as good as job as possible to cover all of jazz history in a book that size. Some parts are inevitably better than others. But Gioia really knows the subject and put a lot of thought into all of it. Chuck mentioned the new Shipton book. I agree that it is a valuable contribution, and puts emphasis on a number of areas that have received too little attention in past histories. It has some glaring weaknesses as well, however. For example, I find Shipton's coverage of hard bop and soul jazz to be very superficial and inadequate.

An interesting discussion here. I am a big Booker Ervin fan. He was a voice, a unique voice. When Booker picked up the horn, you knew right away WHO was preaching to you. Charles Mingus and Randy Weston also thought very highly of him.

I had no idea that she was still among us. RIP