felser

I always avoided that one when I played "Wheels of Fire". And avoided "Boom" when playing this one (the whole second album was an indulgence/rip-off. At least "Wheels of Fire" had "Crossroads" and "Spoonful" on the second, live album.):

Remember, you said "famous", not "good". We played this drum solo in unison on our lunch room tables at school: And this one was famous and good, "Soul Sacrifice" from Woodstock:

Santana even had some interesting work as late as 1992's "Milagro", but nonetheless he went off a high cliff after "Welcome", and off a much lower cliff between "Milagro" and the Arista mega-platinum atrocities. As far as Blackman, I agree that she's a good drummer, very busy and powerful, but she's a jazz drummer per se, and doesn't really leave room for other percussionists. Lear was able to do that, and I thought he was fine, though of course he's no Michael Shrieve, who was the perfect drummer for Santana (the group). And Santana (the guitarist) proved conclusively on "Swing of Delight" that he is not a jazz player per se. Don't sleep on this, which has a lot of totally unanticipated magic.

Listen to how his drums grow thoughout this one,especially on the later choruses:

Both great albums in their own ways.

I long for the time when Santana was much more than "pleasant". The Rick Rubin-produced album could be interesting. Santana IV and especially the live set with the original band were inspiring, but that's about it for the past 25 years.

We're all getting old. I don't think it's a sign of jaded to not $ up for every alternate take in existence. And those alternate takes are readily available on the much cheaper Ultimate (McMaster) and RVG editions. The Blue Train alternate is 46 seconds shorter than the released version, the Lazy Bird alternate is all of 5 seconds longer than the released version. Not exactly massive re-thinkings of the songs.

Totally legit and usually very high quality remastering.

Just jump on them quickly. Carpe deum.

The Hipp is very good for what it is.

All shown below are worthwhile (avoid Benson/Farrell). I recommend springing for the two BGO sets, which include all the titles you need, and will run you about $30 total, better all-around quality than the "Original Album Classics" set, and comparable in price once you add in the sixth title. The second one is more funk-oriented, with Joe Beck and Herbie Hancock in tow, but of extremely high quality. None have any CTI orchestration, all are small group sets. "Follow Your Heart" from the first Quartet album is one of my all-time favorite cuts.

Acrobat is also OK soundwise, and I really like the care that goes into their packaging, with recording dates and original release info carefully presented. Their packages tend to be complete and very well thought out, and they are a go-to for me. Understand that none of the PD labels is going to be great soundwise, but some are certainly better than others. Real Gone (the European PD one, now dba Reel to Reel) made drastic improvements in their sound quality over time.

Not Now is definitely bottom of the barrel. NOTHING is as bad as their releases.

$34.19 direct from importcds.com ($49.39 from amazon). https://www.importcds.com/ian-carr-torrid-zone-vertigo-recordings-1970-1975/5013929476301

Yes, the sound is certainly acceptable.

Here's how you want to get that Drew material, combined with a good Howard McGhee set. https://www.amazon.com/Howard-McGhee-Introducing-Kenny-Drew/dp/B00000DCJZ/ref=sr_1_1?keywords=mcghee+drew&qid=1551931463&s=music&sr=1-1-catcorr

Rather than re-re-re-re-re-re-re-issue the same old titles.

Received my big box, perfectly executed by David as always.

Finally, the dream comes true, a CD reissue of the ultra-obscure and rare John Coltrane - Blue Train album! Thought I'd never get to hear it in my lifetime!

I did 2 years of community college and then lived at home in suburban Philly for the other two years, did UPenn-Wharton for under $10,000 total for the four years (class of '76), owed $700 when I graduated. Goes about $280,000 for the four years now. Obscene. Plus they would laugh at me if I applied now with the credentials I had when I applied then (good grades, very good SAT's, nothing else of note). And FWIW, I was much happier at community college.

As far as the nature of the comments here, Gitler was a critic, and therefore trafficked in opinions, including negative opinions. What would Ornette Coleman's family think of reading his writing? What would Wynton Marsalis's family think if they spent time in this forum? As far as tolerance of "newer" styles, I remember Philip Larkin writing about the 1964 Miles Davis "Four and More" album, with the Coleman/Hancock/Carter/Williams quartet doing classic material, as if it were sacrilege. I don't particular disagree with some of the negative comments about Sun Ra, Braxton, Ayler, etc. written here, though I do tend to listen to Sun Ra and Ayler, sort of for the same reason you stare at a car wreck. They ARE interesting, and do add value to my experience. And I'll glady listen to any solo piano album (and most other albums) from Cecil Taylor from any point in his career (and even moreso with Muhal Richard Abrams), and really like much/most of what the AEC has done through the years (thanks Chuck). I have to admit that almost everything by Braxton is lost on me (for whatever reason. I do like the "In The Tradition" sets OK). But I know he brings much to other listeners. And some guys like Noah Howard do a ton for me. Gitler had his preferences. He was interesting and trustworthy on what he knew and liked. Not so much on things outside that realm. Not at all unusual or unexpected. For instance, I can't tell "good" gansta rap from "bad" gangsta rap at all, but will debate 60's garage rock or 70's Strata-East down to the last jot and tittle.

I definitely agree with that.

I own it and am glad for it, though I will never re-listen to some of the discs. The discs with Friesen are really good, prime Waldron.

Great stuff, thanks for sharing!