felser

Five excellent Farrell CTI CD's for $13. Or the BGO reissues cost a little more per album, but offer superior remastering and packaging/liner notes. 'Skateboard Park' is also a goodun, in addition to the CTI's. https://www.ebay.com/itm/JOE-FARRELL-ORIGINAL-ALBUM-CLASSICS-SLIPCASE-NEW-CD/381450592290?epid=232012953&hash=item58d03a2022:g:I6UAAOSw9z1b5YQX

Ooh, I want those! Edit: but not at the going prices ($30-$100 each). Looks like they commenced for 1957 and were published annually for at least eight years.

Not appearing for me, either.

50th anniv edition with Woodstock set?

In honor of the 50th Anniversary of Woodstock

Buddy Terry Milcho Leviev Willie Thomas (MJT+3) Lisle Atkinson Ed Bickert

Totally agree with your sentiments. I also consider two mega-albums of the 80's, Springsteen's "Born in the USA" and Dire Straits "Brothers in Arms" to musically be huge steps backwards from what they had done previously. So I am not a fan of arena-sized works, I guess.

'Monster' was the death of REM for me (though they resurrected on 'Accelerate' and 'Collapse Into Now'). Just my taste/opion. That being said, I do like "What's the Frequency, Kenneth".

I didn't hold onto them all, but do have the individual CD's of the core releases through about 1971 (so didn't keep the redundant individual CD's of things like 'Jazz at the Plaza' or 'Circle in the Round'). And I did not keep the crazy expensive On The Corner box, kept the individual CD's instead for economic reasons.

The Cherry Live at the Montmartre CD's on ESP-Disk are also great, and have surprisingly sharp fidelity.

Not all of them got later Legacy releases.

I also ended up keeping the single CD's when I got the boxes. They still very much serve a purpose to hear the original distillation, as the boxes are so far-reaching.

Off the top of my head, just the Baker, Morgan, Chambers and Scofield. And I'm not totally sure on the Baker.

"Whipping Post!"

This is the one with the three tenors. And anything with 1957 John Coltrane is well worth hearing!

Me too. I like 'Caliente' a lot. It's a superior example of that sort of thing. And 'Ruby, Ruby' is good.

Flying Dutchman Gato Barbieri was a MONSTER, especially that live album from Montreux!

Love him or hate him - Keith Jarrett.

May not be to your tastes, but movements like Strata-East records, artists like Woody Shaw, Charles Tolliver, Lloyd McNeill, and Billy Harper, the full flowering of artists like McCoy Tyner and like the Clifford Jordan/Cedar Walton group, the breakthroughs of groups like Return to Forever and The Mahavishnu Orchestra. I get much more from Tyner, Shaw, Tolliver, McNeill and Harper than I do from all of the artists you named except Coltrane. I respect them all, and like/enjoy most of them, but my heart and soul are more in the artists I named (and in a lot of 60's/early 70;s Blue Note, etc.). Just me, I'm not trying to argue relative objective value (certainly no one from the 70's is as "important" as Duke Ellington or Charlie Parker), and I'm entitled to my subjective responses. I know the ones you named came first. For that matter, artists like, say, King Oliver or whoever came before them. It's all good, and we can be thankful for all of it.

What year did you get into jazz? For me, it was 1972, which likely informs my thoughts to some degree. But there was a lot of amazing stuff going on in jazz in 1972.

Makes sense to me. Hoping/expecting that the Abercrombie titles are 'Timeless' and 'Gateway'. You will be able to make your argument for the second half of the decade in your 366 selections! I certainly agree it's a more fertile and interesting era than what came next, though those very young men on the major labels in the 80's sure wore nice suits and hats.

Any BN from that era is worth a spin just for historical perspective, and anything from Johnny Griffin in that era is well worth a listen.

Love Barbara Lynn's classic work!

The 'No Nukes' concert movie is where Springsteen really kicked in for me. First time I ever heard the song "The River" and I was immediately hooked. I had been well aware of him before that, had even seen him live in 1973 at the Spectrum (opening for Chicago), but it really kicked in emotionally for me at that moment. He stayed on top of his game live much longer than he did in the studio.