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Yeah, I have it on this, which only lists Hancock, not any of the other musicians. I think that even listing it as Tootie (or 'Toudie') may be misleading, as it sure seems to be Mtume's session.

You don't want to pay another $15 for a saw to be brought up in the mix for 90 seconds? Good call.

Agreed on Side One being stunning. The three songs ("Abstrusions"/"Libra"/"Effi") work together beautifully, and this version of "Effi" is just an utter marvel.

https://realgonemusic.com/products/max-roach-members-dont-git-weary-lp?rs_oid_rd=136992276885616 One of the great albums of all time. Copying this from the Real Gone Music website (link above): Max Roach Members, Don't Git Weary LP $ 21.99 ColorBlack Black - $ 21.99 Quantity Max Roach wasn't just one of the greatest drummers and percussionists in jazz history; he was also one of the greatest bandleaders in all of jazz, able to adapt his playing to an innumerable array of styles, from bop to free, and blessed with a keen eye and ear for talent. And he always, always kept pushing himself and his bandmates to find new modes of musical expression throughout his six-decade career. Speaking of modes, this 1968 release on the Atlantic label is one of his finest albums, a masterpiece of modal jazz featuring a crack outfit of saxman Gary Bartz, trumpeter Charles Tolliver, bassist Jymie Merritt, pianist Stanley Cowell (composer of half the tracks on the album including the gem "Equipoise"), and, on the title track, vocalist Andy Bey. Discerning ears might detect the first hints of jazz fusion, but Members, Don't Git Weary is simply modern jazz of the highest order. First American vinyl reissue and long overdue! Side One 1. Abstrutions 2. Libra 3. Effi Side Two 1. Equipoise 2. Members, Don’t Git Weary 3. Absolutions

That's a nice set. I'm torn between that and the excellent "Otis! The Definitive Otis Redding" 4-CD Box Set. I own them both and probably should sell one since they overlap so much, but feel a sense of loss at the idea of getting rid of either. Have the same problem with with corresponding Aretha Franklin boxes (the original 1992 "Queen of Soul" and the 2015 "Atlantic Albums Collection"), though that one is easier to justify keeping both, since some key early 70's singles are not on the Albums box.

Less than 67 minutes, so running time shouldn't have been an issue. I can live with or without the saw solo. Lee Morgan – The Last Session Label: Blue Note – 7243 4 93401 2 1 Format: CD, Album, Reissue, Remastered Country: Europe Released: 1998 Genre: Jazz Style: Modal, Hard Bop Tracklist Hide Credits 1 Capra Black Composed By – B. Harper* Composed By – B. Harper* 15:32 2 In What Direction Are You Headed Composed By – H. Mabern* Composed By – H. Mabern* 16:20 3 Angela Composed By – J. Merritt* Composed By – J. Merritt* 6:24 4 Croquet Ballet Composed By – B. Harper* Composed By – B. Harper* 10:57 5 Inner Passions Out Composed By – F. Waits* Composed By – F. Waits* 17:34

The Elvin Jones version of Frank Foster's "Simone"; Clifford Jordan's Glass Bead Games version of "John Coltrane"; The McLean version and the Tolliver Slug's version of "On the Nile"; Lee Morgan "The Gigolo"; Jefferson Airplane "Wooden Ships"; Joni Mitchell "Tin Angel"; Santana, the whole Caravanserai album, especially "Every Step of the Way"; Stevie Nicks "Edge of Seventeen"; Bruce Springsteen "The River".

He's a big plus for me every time I hear him on a recording.

Could do a Capitol Cannonball mega set that would be quite a listen.

I just completed listening. It's a treat. Maybe my favorite rendition of "Orange Was The Color", a solid "Fables of Faubus", and 50 minutes of good compositions/performances I was not really familar with (30 minute "Mind Readers' Convention in Milano" and 20 minute "The Man Who Never Sleeps"). Best Jon Faddis on record, Bobby Jones sounds good. I think Jim may have briefly mentioned John Foster . McPherson is McPherson, which is a good thing. Roy Brooks fits fine.

I am looking for a reasonably priced CD set of Sarah Vaughan - Complete on Mercury Vol. 4, and also looking to sell or trade CD sets of Sarah Vaughan - Complete on Mercury Vol. 2, and Anita O'Day Mosaic box. Both of mine have minor package issues, but the CD's are in great shape. Please PM if interested on any front here. US only, please.

Good stuff, did not realize you had been at WRTI ("The Freedom Sounds" !). Cut my jazz teeth on that station in the early 70's My wife and I used to listen to Harrison Ridley, Jr. on Sunday nights ("alrighty, yes indeedy") and enjoyed him so much. We also attended a dinner in honor of him as guests of Keith McKinley and Ruth Naomi Floyd. Kenny Barron Trio (Barron, Ben Riley, maybe Ray Drummond on bass?) played at the event. My all-time favorite on the network was Kim Berry. Was very sad when they collapsed the classical programming into the schedule, and actually have rarely listened to the station for many years now.

1 – Bam, sounds great to me. Thinking I have this. 1970’s vintage by experienced players? Bass seems to be the Stanley Clark-influenced “butterfly” style, though the solo seems to harken back to an earlier walking style, just very sped up. Love the tenor solo. I’m wanting to say Junior Cook? 2 – “Moose the Mooche”. Well done trio. 3 – Very pleasant, but fades into the background for me. 4 – “Take the A Train”. Too ornate to be Duke. Loses interest for me. 5 – Very tastefully done. Fades into the background for me. Joe Pass? 6 – Not nearly as “tasteful” but certainly more interesting IMO. Not sure who it is. 7 – “Someday My Prince Will Come”. Nice enough. I’m wanting to say someone like Ed Bickhart on this, definitely someone influenced by Jim Hall. 8 – Good cut. Like the bass player with the double stops in his solo! Trombonist’s album? Thanks for putting this together, short and sweet! Every cut is nice, and I love #1. Look forward especially to ID’s of it and #6!

I only have two filing genres ("Jazz" and "Everything Else"), but do split my CD's by someone like Lou Rawls across those. How many genres do you have his stuff in?

Mine's due from Amazon tomorrow.

I tend to concentrate on a specific time period for someone like Burrell. I tend to have a bias and generally don't go beyond the 70's for an artist unless something changed in what they were doing. I combine the Lion/Liberty/UA albums together, as there was continuity in the artists (for example, Horace Silver). The label changed, but it was still the uninterrupted history of the label. I consider the Manhattan era which "relaunched" in the 80's to be an entirely different label (just using the same name), and don't include them in the segregation of the label in my collection. So a 1960's Freddie Hubbard BN gets filed in BN for me, a 1980's Hubbard BN goes into my general Hubbard shelf along with his Atlantic's, CTI's, etc.

You would need a cross-index available. Your unbiased opinion

I file Blue Note, Strata-East, Nimbus West, and Black Jazz by label, secondary sort by artist, tertiary sort by recording or release date. Everything else is by artist, secondary sort by recording or release date. I also have oversized mini-lps (excluding Blue Note and the other named labels) in a separate section for shelving efficiency reasons.

If one of the members produced or arranged the session, or wrote a preponderance of the material I file it under them (Timeless All-Stars goes under Cedar Walton, many of the 50's Prestige sessions go under Teddy Charles or Mal Waldron).

The Black Saint and the Sinner Lady is my favorite Mingus album ever! Different strokes for different folks.

The Mad Bomber. I remember having football cards of him as a kid. Great name. Went 36-4-1 with the 1967-1969 (61-14-6 1967-1972) Oakland Raiders, threw 89 TD's (a TON for that era) those three years. Had great success with Fred Biletnikoff and the awesomely talented but extremely troubled Warren Wells, as well has Hewritt Dixon, Billy Cannon, Raymond Chester and others. Suddenly became ineffective in 1973 and lost his job to his backup, lefthanded Kenny "Snake" Stabler, who also did OK for himself. Trade where Raiders got Lamonica looked crazy at the time, as they gave up Tom Flores and all-pro receiver Art Powell for the unproven Lamonica, who backed up Jack Kemp with the Bills, but they obviously knew what they were doing! Powell was never again effective, catching only 21 passes the rest of his career and Flores only completed 30 passes the rest of his career.

Sidemen? - Lyons/Grimes/Cyrille with Taylor? Dotson/Jordan/Watkins/Howard Johnson/Richmond with Mingus?

I look forward to that!

Serious question: Who would be getting paid at this point? The descendants of Saul Zaentz? Did someone like Brew Moore get royalties on a record like that? Quick research says that if he did, it was 1-4% then, though contemporary standards are 10% on reissues. And of course, the musicians are long gone, so it would be their estates getting the (seemingly small) royalties? This has probably all been discused before, but I'm not privy to it.