felser

80-85% of my listening is done at work - one of the great advantages of having an IT job (thank you Microsoft for changing corporate culture). Life gets in the way of listening at home (how to feed and nurture a marriage, have friends, raise a family including a grandson, etc). Not sure how my corporate employer would take to me having a turntable in here (actually, I am sure....). Also, vinyl takes so much room, and I already have a shortage of that. I have been trading vinyl for CD's with another wonderful board member, which has been win-win for both of us, as he now greatly prefers vinyl, and has the situation to support that. I do understand the appeal of vinyl (somewhat), but it's not for me at this point. But I like a tangible "thing" that I can handle and curate, not computer file bits. Just me, not for everyone. All good wherever one comes down, just thankful to live in such an amazing day and age where so much is available to us, including a lot of great music from the 50's and 60's I thought I'd never get to hear back in my earlier days.

Also helps me to stop spending money, since I'm still committed to the novelty format. I do have lots of Pharoah Sanders on those shiny coaster thingys.

I'm with you. And I own and enjoy those Kudu's. And some of the Esther Phillips titles also. But to enjoy that style, I need it done really well, and that's not something BN did well. Those early Grover's OTOH work fine for me, especially Soul Box with all those Motown covers.

Easily enough done once you get to the magnificent 'Live at the Berliner Jazztage' album. You go completist in the Liberty and especially UA eras at your own risk...

Chico Hamilton sold. Hank Mobley sold.

My wife pointed out that I should share that I willingly make a fool of myself all the time on this board, but I told her I didn't think that was a good idea .

Don't worry about ID'ing the music, just respond on what you like and don't like, and why. There is no right or wrong on that. And the biggest reward to the presenter is just to know that people care enough to listen and respond.

Liebman/Beirach sold.

Board member David Weiss is the organizer of that group! And yes, you need all of their recordings!

All CD's in great shape. All boxes and books in great shape except that the Tyner outer box has a cut on it (all other elements fine). PM if interested. Prices include media rate shipping. Reasonable offers considered. Trades also considered, though not my preference for these. Please PM if interested. Chico Hamilton (6 CD's) $119 Lennie Tristano (6 CD's) $100 Hank Mobley 50's (6 CD's) $95 McCoy Tyner Select (3 CD's) $45 Liebman/Beirach Select (3 CD's) $50 Woody Herman Select (3 CD's) $35 Akiyoshi/Tabackin Select (3 CD's) $75 Modern Jazz Quartet (7 CD's) $105 Max Roach (7 CD's) $150 Sonny Stitt (9 CD's) $105 Lou Donaldson (6 CD's) $150

Well done!

(different cover art)

I do!

Some inspired choices, such as that great Brubeck set (his work with Mulligan was very strong, and very underrated IMO) and the Carter/Bradford, and you got the right Hancock (though 'Crossings' is also pretty great). I do think you're cheating on the Sanders! Though I will grant you that I would have picked 'Black Unity' as my choice for the decade. Have never heard the O'Day. The Simmons is an interesting title, but not an easy listen, even compared to his other work. Only real objection is the Crawford, where I definitely would have gone with 'Wildflower'. But overall, very well done, bring on 1971!

Glorious listen:

Yes, it combines your multiple posts if no one else posts in between.

I order from some of the big UK sellers (usually rarewaves these days, oxfordshire and some others frequently in the past) through ebay fairly often, and find usual 2-3 weeks, sometimes a little quicker, seldom slower. That being said, I agree give it another week if the seller is reputable.

IMO, if we can't get 12 different people, it's desirable to go to people being permitted to do two a year, to fill the calender.

Absolutely. An entire genre (New Age) largely strikes me that way. "Pretty" as an aesthetic value, not an emotional one.

Please don't sleep on his late-career work, which is aesthetically and emotionally stunning. Has proven to be a major artist when you add all of his phases together.

1 – I like the opening vamp, but lose interest as the cut goes on. Very very nice bass, which is the clear highlight for me. 2 – I identified on Saturday as track B1 from this classic. 3 – Out of my range, can’t relate to it. 4 – Pretty but cold. 5 – Really enjoying this, and it’s very new to me. Someone like Bill Frisell on guitar? The writing and arranging are fresh and wonderful. Suspect others will ID this, and I look forward to the reveal. Fine trombone playing, whoever it is has really mastered the instrument. The tuning on the guitar is pretty unusual to my ears, sort of reminds me of Mark Knopfler’s tuning (but not his playing). 6 – Sounds early on like samples from three different recordings playing at once. Not to my taste, though it is “interesting” for sure, and I did stick with it for the entire 7 minutes. It sort of grew on me as it went on and my ears adjusted, though not something I would seek out. My favorite part was the sax player, who just suddenly appears 2/3 of the way through. Very strange cut. Am curious for the reveal. 7 – I like this more than I would expect to. Clarinet and trumpet players interact nicely. Clearly recognized the clarinet player, so a little sleuthing led me to identify it as the first cut on this 8 - This cut is beautifully written and arranged, with great ensemble playing. Maria Schneider? Probably not, as I don’t remember her using guitar or featuring trumpet as much as this cut – though there is a lot of her material I have never heard (too expensive). If I don’t have this on the shelves, I will look to add it. 9 – One of those things that is probably more fun to play than to listen to. I can tell this must be of later vintage, as it has that “new” rhythm section approach which I don’t much enjoy. Obviously, all three of these guys can play (especially the pianist), but I’m not much interested in their work. Jacky Terrasson? 10 - I like this, and probably appreciate several of the players. That being said, it’s a little too rhythmically static for my tastes, but it’s nice and well-played, and I would not be surprised if I have this on the shelves somewhere. I do look forward to the reveal on this one. 11 – Very fun cut, though not something I would go looking for. But a very fresh sounding listen. Is Wendell Harrison involved in this one? Is it his session? 12 – Totally lost on me. They’re all competent musicians, but to what end? 13 – Yeah, I like this one. Sounds familiar, though I’m not placing it. Everyone acquits themselves well, especially the alto player. Looking forward to the reveal. Very interesting BFT, with some new sounds for me to experience, and really looking forward to the reveal on 5/8/10/13!

It's a fascinating album for sure, wouldn't want to be without it. Not sure how to stack it up against 'Juju', which I also adore, for different reasons. And all of his Blue Notes are varying degrees of wonderful (Even Motto Grosso Feio).

#2 is track B1 from this beautiful album. Lots of great sounding stuff on the second half of the BFT which I look forward to exploring! I would have thought much of it was older vintage.

Sonny Criss !!!!! And don't miss out on this gem, with compositions and arrangements by Horace Tapscott: