John L

I didn't even realize that there was a volume 3.

I love Kenny Dorham. If I could have only one KD album, it might be this one, but that probably has as much to do with Philly Joe as KD.

I don't remember that in the notes, but I am far away from my booklet right now. It is true that "Bird on 52nd Street" has some of the Onyx recordings on the Benedetti set. Are we sure that the Benedetti tape was the source, however? Someone else could have also recorded the concert(s). Alternatively Benedetti could have made a copy of it for somebody that got into the public domain. Until the tapes were discovered for the Mosaic set, my recollection is that it was not even clear that there were any Benedetti tapes that survived.

This video is interesting. I actually had an argument with Gioia on facebook on this subject about a year ago. I don't really find his argument very compelling. Yes, I also prefer owning music as a physical product, but that is only because I was brought up to enjoy hunting for and "acquiring" music in this way. If you think about it, the only really meaningful way that we can define "ownership" of music for listening purposes is the ability to access it any time a person wants. Tapes, records, CDs, 8tracks, MP3s, cassettes are just a medium for providing this access. They are not the music itself. Streaming is also a convenient medium. In fact, the advent of digital music has expanded opportunities for ownership. We no longer have to be home sitting in front of a record player with a record collection for this access. Spotify provides more immediate ownership of more music than record collectors could acquire in several lifetimes. Yes, we can deeply regret that technical progress at this stage has caused musicians and the music industry to lose a lot of money. But what is the solution? Technical progress is technical progress. We can't really stop it. The search for new ways to defend copyright on music goes on, but the solutions will have to be consistent with continuing to move forward with technology. The argument about preserving music also strikes me as odd. On the contrary, we are at the age where almost everything is preserved. There is a lot of space in the clouds.

RIP to one of the last true Chicago blues giants. Muddy

I'm also a fan of Van Morrison. My personal favorite Van Morrison song is Tupelo Honey. I've internalized that one, play it myself.

There is no shortage of fine Art Pepper recordings, especially live ones. This one still looks quite attractive, coming from a pivotal time in his career with a band that didn't last long.

Thanks for that correction. My memory must be failing me.

I used to be a member of a GD site that posted a huge number of the soundboards. I seem to recall that there were soundboards for most of the shows beginning in the second half of 1970.

They still sell on places like Amazon and iTunes a number of Magic Sam (the West Side Chicago blues giant) albums that are not Magic Sam at all. No matter how many people tell them about it, they just keep selling them as Magic Sam albums. This one is supposedly a Ron Thompson concert:

That is why they invented iTunes playlists.

I also enjoy Abraham Burton. Someone to keep an eye on? He is already 46.

Can anyone compare the sound quality here with previous releases of this music?

More generally, it would be nice to see a catalog of the entire Savory collection and understand how the selection was made for the Mosaic set. I was hoping that the Mosaic booklet would contain a section on this. Other than the Benny Goodman material, it seems that sound quality was a big criterion for selection. When I was in the museum a few years ago, I heard some other great tracks with Lester Young, which have not been released presumably because the sound quality was a bit rough. In fact, one of these tracks in fairly good sound was put briefly online as a sample when the Savory collection was first discovered.

I have a tape of another Monk concert supposedly from Stockholm on the exact same date of March 5, 1963. One of the dates must be slightly wrong.

Make sure and get "Right Place, Wrong Time." His Chess recordings include the incredible "So Many Roads." Chicago, the Blues Today vol. 2 contains some superb Otis Rush tracks from the 60s. There are a number of good live albums from the 70s - Tops, So Many Roads, Live in Concert (Tokyo), and All Your Love I Miss Loving (Live at the Wise Fools Pub) are among the best. I believe that his last two studio albums, Any Place I'm Going and Ain't Enough Coming In, are seriously underrated. You won't be disappointed if you get them. Another very good 70s session is Troubles, Troubles (Also released as Lost in the Blues with dubbed horns). A Cold Day in Hell is uneven, but contains some great performances. In contrast to Chuck, I am not much of a fan of the Cotillion album - the production didn't suit Otis. One to avoid at all costs is Screamin' and Cryin', which was recorded when he was on the verge of a nervous breakdown.

You really can't go wrong with anything that has been recommended here so far. Maybe he can go on youtube (if he doesn't have spotify) and listen to a few samples from the Blue Note, Prestige, Riverside, and Columbia years before deciding where to take the first deep plunge.

...and Roy Brooks. Good news!

RIP to a fabulous musician and kind, generous person. That God that he was able to grace the earth as long as he did.

I don't hear in late Trane a lot of "panic and rage," although I could be wrong. It sounds more to me like a continual effort to push forward into that next spiritual dimension.

"Jazz was in a sense always a late style, a timekeeper’s music out of time. In the 1920s, while jazz musicians were playing early show tunes and improvising with rudimentary harmony, the Second Viennese School was pushing ahead into total chromaticism and atonality, and Stravinsky, Milhaud, Prokofiev, and Ravel were experimenting with jazz’s musical signature—its fixed pulse, syncopated rhythm, and emphasis on flattened thirds and sevenths." It makes my blood boil that people are still writing this kind of dribble, as if even Louis Armstrong wasn't doing anything new in the 20s, just "improvising with rudimentary harmony," This reminds me of an essay in the 'classic" The Musical Companion where the inferiority of jazz to classical music was explained. It turns out that, contrary to popular belief, jazz is not rhythmic at all, just "rigidly metrical." Only in classical music are rhythms actually developed.

Not long ago, I tasted for the first time Trader Joe's Habanero sauce. I was quite surprised and impressed. What I like about it is that it gives a pure flavor of habanero as opposed to the mixed cocktail of most habanero-based hot sauces. While living in Nigeria, I really came to appreciate the pure flavor of habanero.

I don't know about this post-Aretha world. I can't identify. RIP

If Coltrane didn’t like Red Garland’s playing, it is curious that he recorded so much with him, including as a session leader. But who knows?

The 120 gb iPod touch is very nice. I have one. But the price is not very friendly.