felser

December has been mine for a couple of years, and I'll be glad to sign up for December 2017.

Bizarre. If youre going for the legacy rather than any rarities, the first title you would have on a box like this is "A Love Supreme". And they delete that and leave in "Ballads"? Huh? And you would shortly thereafter add "The Black Saint and the Sinner Lady", "Blues and the Abstract Truth", "Karma" and "Four for Trane" (and no doubt others I am forgetting) which are also not present. Don't understand what the purpose of this box is supposed to be. it doesn't have rarities or even hard to find titles, and it doesn't have the best or most representative of the label.

Count me in, sounds great to me, sort of love what the rhythm section is doing, sort of find parts of it bizarre, but it draws my ear. Fascinating blurb about it by a poster at discogs. Also, I know what you mean about the randomness of cutout bin experience (a necessity when working on limited teenage income) shaping initial musical tastes, I went through the same thing, owning bizarro stuff like the Hampton Grease Band and Spontaneous Combustion and obscure stuff like Jimmy Heath's "The Gap Sealer" and the first Visitors album without ever having owned something like "Axis: Bold as Love" or "Rubber Soul" back in the day. Anyways, here is that discogs blurb on Daley. Hope JLH can clean up those tapes and return it to studio ambience. genofefa May 19, 2014 Joe Daley is a little heard of saxophone legend in the history of Chicago Jazz. This trio, featuring Hal Russell (of NRG ENSEMBLE fame) on drums and Chicago's Occult Bookstore proprietor Russell Thorne on bass, existed for only a handful of years before Daley's resistance to the free jazz and avant influences being brought into the group by the rhythm section caused the group to dissolve. The tunes here reflect an interest in the coming wave of avant garde developing in mid 60s Chicago with the birth of the AACM and the Art Ensemble. Thorne's contributions are particularly influenced by his association with John Cage and eastern philosophy. Although this record is titled "Live in Newport 1963" it is actually a studio record that has been masked to be live. On the original LP there were breaks between songs that had an announcer introducing each tune. Any audible applause or sounds were added in the studio to create the live feel. The almost apologetic tone of the announcer (reportedly Daley himself?) and the uneven mixing of his vocal level create a horrible framework for an otherwise highly innovative piece of avant garde jazz history.

Daley was a new name to me when he came up for JLH release. What can you tell me about him?

'Curtain Call' was the tough one, especially with the two different album names.

In the UA, that full Monk box cost a lot more when I bought the smaller one, but they are only about $20 different now, Would like them to do a Universal box on Wes Montgomery.

I love the Cecil Taylor sides with him and Buell Neidlinger. Fascinating rhythm section.

Yeah, I own the Monk and both Evans sets, and they are fine.

The Zwerin Mack set is on order, as well as the Konitz, the Russell (hoping it's a sonic upgrade from the 1990 CD I have), the Pike, the Grusin, and the Solal. They're all under $2 new on Amazon marketplace from UK sellers, so I can't go too far wrong with it coming out to under $35 total including shipping for the six.

Paul, go ahead and take 9/11. I was just volunteering to fill in if no one came forward.

The original US editions of the Sonny Prestige and the Bud Verve are much nicer, and not terribly expensive used.

Thanks Lon, I'll definitely follow through on the Konitz and the Orchestra USA.

I picked up the Lee/Blake recently, , it's a pretty interesting listen. Anyone familiar with the Solal? How does it compare to his other work? I have most of the others in various previous releases. What do people think of the Konitz and the Grusin? On the Grusin, I'm attracted by the Foster/Thad front line, but repelled by almost 10 minutes of "Blue Monk" (which I've never liked by anyone, even Monk). On the Konitz, I'm drawn by the era and by the presence of Rava and D'Andrea, but repelled by the varitone and by the shortness of both the album and the individual cuts. I've never heard the Solal, Grusin, or Konitz And what of the Orchestra USA? Drawn by Dolphy, repelled by the material. Have never heard it, either.

18 September I think that would be.

Who's up for posting on September 4? If no one else steps forward by Saturday, I'll post something on Sunday to try to keep momentum going, but it's best if we can spread the fun around.

Really. 11 tunes in under 29 minutes, with strings to boot? That will be a "listen once" experience, though I don't think anyone can mess up Newley's gorgeous "Feeling Good" too badly. I've spent 3/4 of my lifetime loving the long live version of that on Traffic's 'Last Exit'.

A discogs seller in the Netherlands is offering an amazing deal on the Mosaic Select box, $28 + shipping. https://www.discogs.com/sell/release/5328881?ev=rb and discogs has some decent deals on the Koch CD https://www.discogs.com/sell/release/1889660?ev=rb and here's a Sony Japanese edition that is priced very fairly http://www.ebay.com/itm/JOHN-HANDY-LIVE-AT-MONTEREY-JAPAN-CD-Ltd-Ed-B63-/272348118563?hash=item3f69367e23:g:41IAAOSw9mFWHLft

One of the very first jazz albums I ever bought in late 1972. My Franklin Music Sales Clerk/Mentor recommended it to me. I had never heard of any of the musicians, but he told me I could return it if I didn't love it. I never returned it. A stunning work, unlike anything I'm aware of that preceded it, opening new pathways between jazz and rock, the present and the future. Each player acquits himself beautifully, the extended performances hold up, and "Spanish Lady" remains a bracing experience, start to end, 50 years later. Timeless music that does not sound dated. This started a run of beautiful albums by Handy on Columbia ("Second John Handy Album", "New View", and"Projections" followed), and I wish it had continued longer. Handy did not record again as a leader until the mid-70's, and was in a very different bag then, which must have been hard work. White had a nice run on Impulse after his proto-fusion in the Fourth Way.but went commercial and then disappeared from view shortly thereafter. Hahn recorded an interesting album on the mysterious Arhoolie album, then the Jerry Hahn Brotherhood album for Columbia in 1970. I've never heard that one, but it looks to be somewhat rock-oriented, with organist Mike Finnegan being featured. Is anyone familiar with that one? I also have not heard any of his subsequent recordings. The 1996 Handy "Live at Yoshi's" set reunites the quintet for a reprise of the two Monterey cuts and some other material, and admirably maintains a surprising amount of the old fire. The original Monterey recording remains a landmark in the history of music. I hope some others feel my love for this amazing set.

Tracklist A Spanish Lady 19:36 B If Only We Knew 26:58 Bass - Don Thompson Drums – Terry Clark Guitar – Jerry Hahn Saxophone – John Handy Violin – Michael White Recording date: Sept. 18, 1965

91 years old, quite an an amazing life. Not just another dentist. Much thanks for his work and passion.

http://product.half.ebay.com/The-Roar-of-the-Greasepaint-The-Smell-of-the-Crowd-Today-by-Herbie-Mann-CD-Mar-2006-Collectables/3464564&cpid=1067254378

Don't own this one and have never heard it (Mann, he did a lot of albums on Atlantic!), but have ordered it (in a twofer with "Roar of the Greasepaint") for a good price off half.com, and will listen and respond if it gets here in time.

Mike, go ahead with your album for week 1, I'll relist the Handy for week 2, and we can see what happens. Saturdays used to be the start of the week,and Saturday/Sunday probably works best for most of us.

Anything with a good version of "Sunshower", his composition which is a huge favorite of mine.