felser

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.

I welcome you and give you credit for perfect initial taste. A tribute to Kenny G would have been painful. I got into jazz instantaneously when I was ambushed by my first hearing of Trane's "A Love Supreme". Many exciting paths to explore from there, backwards and forwards in time and conception. 44 years later and it's still a grand adventure.

I own it, sounds like the individual CD's to me, don't notice any quality difference.

Stray early Strata-East albums such as "Reasons in Tonality". Complete Land/Hutcherson.

The description gives me the creeps ("love" between "two unique personalities"?), but I'd definitely watch it. I may also have a lot to say about domestic abuse afterwards.

Yeah, quite a talent. I think the primary thing I am missing by him is the Columbia album he did with Bill Evans, as it's always been so pricey on CD. Owned the vinyl back in the day.

I was a frequent nominator in the period it ground to a halt, so may have been somewhat to blame for its demise, but not many other people were volunteering to nominate at the time. The album that finally killed the experience for me was John Handy - Live at the Monterey Jazz Festival. There should have been meaningful conversation and perhaps healthy disagreement about the place of that album in the jazz pantheon. Instead, there was just a couple of snarky comments and then silence, and I had to say why am I spending 30 minutes of my life trying to come up with a meaningful presentation of an important album if no one here gives a rip. I don't see value in the discussion being along the lines of "Is Jackie McLean's Capuchin Swing a really really really good album or just a really really good album". I tried to generate fruitful discussion on some albums I felt there could be multiple valid viewpoints, such as Gary Bartz's "I've Known Rivers", Leon Thomas's "Live in Berlin", Gato Barbieri's "El Pampero", and the 1970 Atlantic Joe Zawinul album. But people didn't seem particularly interested.

PM sent on Jazz Records, The Specialist Labels

It was! But there are levels and degrees....

For Beck, it was all downhill after "Happenings Ten Years Time Ago" as far as I am concerned. The other guitarist on that record did OK for himself afterwards....

From 'Extensions of a Man"

Agreed, it was a retro move, and even seemed like it then. I saw them at the Tower Theatre in Philly back then. Good show, didn't change my life. I saw RTF with Corea/DiMeola/Clarke/Williams at Playhouse in the Park, maybe a year or two before, and that did more for me. As did 'Land of Make Believe' era Chuck Mangione, with Gap, Gerry Niewood, Esther Satterfield et al, also at Playhouse in the Park.

Enjoyable, There was one on Polydor, and one on Columbia. I prefer the Polydor one, which is more Corea. The one you show is more Hancock.

And will prove to be well worth the wait. Thanks!

Regardless of what you think of Norah Jones musically (I have no strong feelings positive or negative), we can all be thankful she put so much money in the Blue Note coffers, which may have let them continue the reissues of classic albums longer than they would have otherwise.

This is from the Tommy James entry in wikipedia, about how "The Hanky Panky" ended up on Roulette: The men made the rounds of the major recording labels, getting initial potential offers from most companies they visited. One label, Roulette Records, gave no initial response because its head, Morris Levy, was out of town until evening; Roulette was one of the last stops on their visit.[3] By the next morning, Mack, Rubin, and James were now receiving polite refusals from the major record companies after the enthusiasm for the record the day before. James said, "We didn't know what in the world was going on, and finally Jerry Wexler over at Atlantic leveled with us and said, 'Look, Morris Levy and Roulette called up all the other record companies and said, "This is my freakin' record." (laughs) and scared 'em all away – even the big corporate labels.'" Their only option would be to sign with Roulette.[4]

And he recorded that Mingus Three album with Hampton Hawes on Roulette. Levy seems to have known how to play George Goldner for all he was worth. Did not realize (or remember) that Levy also owned Birdland. Hit Men is one depressing book, especially since it rings true...

Zorba the Greek Attila the Hun Attila Zoller

It was originally planned to be a 50-CD box to mark the 50th anniversary of the label ("50 at 50") but now is five years late and apparently has been truncated to 25 CD's.

The Hines and Scott are the only two titles I don't already own, so don't see any need for this. The original config had Sam Rivers - Streams, and a John Klemmer. Sorry to see those gone.

Which is really strange that M'Boom would make it to CD and this one, far superior, wouldn't.

The best part of the Bridgewater/Pope Roach groups for me was Tyrone Brown. He is a beast on bass, also a gracious guy when I met him. Pope and Brown, along with Eddie Green and Sherman Ferguson, made up Catalyst, a great early 70's Philly group. Brown played with my friend Ruth Naomi Floyd for awhile. He was really good in and of himself, but the right bass player for what she does has proven to be a guy named Matthew Parrish. Bobby Zankel, Bryan Carrott, and James Weidman have all played major roles in her concerts and recordings at different times. Zankel at first clashed with her so badly in musical terms, but was able to adapt beautifully over time. Weidman was her musical director for awhile, and did really nice work for her. I've never been big on either of the Bridgewater brothers, though I consider Dee Dee a major artist, but Roach obviously liked what Cecil brought to the table. Pope is what he is, take it or leave it, but again, Roach seemed to appreciate him. Billy Harper is, of course, an impossible act to follow anyways.