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Yes!

Glad you're enjoying it, thanks. #6 is not Bridgewater, and it not being Bridgewater is one of the specifics I designed into this BFT (I certainly would have guessed Bridgewater if I didn't know better)! What I'm saying makes little sense now, but will be clearer at the reveal when I explain it.

Thank you for your kind words! You are correct on #3. I always thought that was a magical little track, may be the first thing I ever heard by Hubbard.

I remember talking to Bryan Carrott at a recording session many years ago about the Ralph Peterson Fo'tet recordings he played on. I mentioned that I found Don Byron's playing to be more interesting than Steve Wilson's in that group. He didn't comment at all, good or bad, about Byron, but praised Wilson as someone who was gaining a reputation as a guy who you could count on to come in and take care of business in any situation. So there is also that to be said about professionalism.

If being a dedicated follower of an artist, it`s sometimes hard to follow certain turns of the artist`s career - collectors are sometimes endangered to be trapped in a romantistic view.....to me it was priceless to witness some of my "heroes" simply being glad to be served some quality food, raising my awareness they are doing this for living (beneath an artistic merit)... Thanks for the previous explanation. It's very helpful, though painful to read.

Here is the link. Let me know of any issues - looking forward to hearing your thoughts on the music! http://www.thomkeith.com/bft129.html

Maybe he needed it. Jim, please explain for the benefit if us non-musicians. Needed it artistically? Financially? Professionally? In terms of legacy? BTW, I agree with what Larry hears in the late McLean. It all sounds fine, but I never find myself going back to it. In contrast,I play later Billy Harper through about 2000 as much as I do his earlier recordings. Yes. Fot a long time Springsteen still brought it live even though the studio material was lame, but based on the last concert DVD, even the live shows seem to have lost the magic.

This one was dredged up from the deepest pits of musical hell:

I'm glad to know that, thank you.

I've never been wowed by any of what I heard on this label, even though the personnel stood out. I'm on the fence, probably leaning toward passing.

Very underrated guy and a favorite of mine. Way too young. R.I.P.

I have that plus Presenting Jackie McLean (with Donald Byrd, Mal Waldron, Doug Watkins and Ronald Tucker) on Ad Lib, which was a Japanese facsimile mini LP and I like them both. I like them fine, certainly on par with most of the Prestige dates.

i have dutifully bought them on LP and CD over the years, but have never found them compelling, likely in large part because of the stunning foresight and quality of the Blue Notes - the Steeplechases seemed like a retro move. They are fine for what they are, but I have always been more struck by what they weren't. I do like the 60's Left Banke material that came out on Steeplechase, but tend to go to the Prestige's more than the 70's Steeplechase's. And yet I love the 70's Steeplechases that Dexter did (though I find the Dexter/J-Mac date pretty by-the-numbers). Especially interested in differing thoughts on the 70's J-Mac Steeplechases, which may enable me to re-evaluate them.

I've always thought of this one as my favorite of his Prestige dates, probably due to Mal Waldron's imprint on the material and arrangements.

This box was a revelation to me when I got it (then very reasonably priced) several years ago. A lot of the Prestige albums mixed partial sessions, which was very unsatisfying.

Laurie, I'm glad it worked out for you and that we were able to be of help.

Nor have the Andorrans or the PD Britis companies, like Proper and Avid and Real Gone Jazz. A puzzler.

BFT #129 is set up and ready for 12/1/2014 distribution. A great "thank you" to Thom Keith, who has cleaned up the .mp3 files for me and hosted them on his web site. The selections on this BFT push some boundaries, and also present some artists in somewhat different contexts than their stereotypes would suggest. Six of the 11 selections have vocals, none are standards. No Sonny Stitt on this BFT, but lots of great and fascinating music, and you may well discover something you really like. Let me know if you are willing to give this BFT a try. Thanks!

That's the right answer. Yes it is, but to a different question than the one that was posed here.

Harold will "Land" with you, rest assure- from memory purely acoustic stuff...... There's some electric piano/two keyboard action on there. But great album. That Hutcherson/Land combination was special.

I've wondered about the Haynes ... care you describe it? Thanks Very much of it's time (1971), spiritual overtones,electric piano and bass. It's a very good, not great, album. Spectacular front line (Hannibal Peterson, George Adams) is underutilized. A few extra nods towards being a drummer-led date. If that era is magical for you (it is for me), you'll definitely want it. If not, you can probably safely pass. Be sure to get the Harold Land, which is the group he co-led with Bobby Hutcherson.

I'd go with Iska if you have other Shorter BN's, because it's a unique date. Etcetera is a superior example of the standard BN recordings of the time. All three are worth hving, even Feio - it just doesn't measure up to Iska. I have always really liked Native Dancer (Nascimento is great on it), but the original CD does have horrid sound, and I have no interest in his other Columbia recordings, so I have never found a price-effective solution to that conundrum.

That album was the holy grail when I first got into jazz collecting in 1972, the album no one I knew had ever seen or heard.