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PM sent on $7 Gary Burton Quartet in Concert (Cherry Red) near mint

Joshua Redman?

I'll take December 2013 if still available. December tends to be a month I have a lot of time off work, so that would work out well for me, given my employment situation remains intact throughout 2013.

I know that there are a lot of delays currently on international packages to the USA.

Thanks Chuck. Do you happen to know why that was?

But we are NOT into UA era Blue Notes here! And those BN Montreux albums were notorious in how briefly they were available. They were cut out before people even knew they were released. I was fortunate to get the Hutcherson Montreux as a cut out at Third Street Jazz back in the day, and it is something I would have bought new as soon as I saw it.

Honest first impressions, posted without reading other discussion: 1 - They do everything "right",so I guess I should like this more than I do. Sort of just pleasantly fades into the background for me. Expertly played, but in a very predicatable, business-like manner to me. 2 - Same response as above. I admire the tone and abilities of the tenor player but he doesn't grab me, and the main guy I normally had that response to was Michael Brecker, so I'm going to guess it's him. This BFT reminded me that a fair part of why I don't like newer mainstream stuff is because the rhythm sections play differently than they did in the 50's'- 60's,and this is a good example of that. The drummer is really boring to me on this, even though he's likely a "name" guy, and the bass player is sort of all over the place rather than laying down a pulse that I can connenct to. Another thing that works against me for these first two is that they use those sort of samba-ish rhythms that I only sort-of take to. 3 - Reminds me of those weird Walter Wanderley 60's Verve albums, especially that strange lead instrument. Again, not a rhythm I relate to particularly well. This one has a pretty cool sense of humor. 4 - ZZZZZZZZ. Nothing "wrong" with it, but it just feels so "by the numbers". Thus completes the Samba side of the BFT. 5 - This is more up my alley. Like what the rhythm section is doing. Vibes player sounds like Milt Jackson, but this is too "new" to be one of the things he did with Frank Wess in the 50's. Is this one of the ones with Jimmy Heath on Pablo in the 80's? A Cedar Walton compostion with him on piano? 6 - I like this a LOT, has such a nice 70's spritual groove to it. This is the sort of think I do a lot of listening to. None of the individual players jump out at me for distinctive style, but they do their jobs well, especially the pianist. This is the first one I'm going to go look into acquiring if I don't already have it. Reminds me of some of the stuff that came out on Black Jazz or Strata East, or that Harry Whitaker album. 7 - Carlos Santana, of course, and I was a fan back in the day, until he became so "Smooth" c/o Clive Davis. "Gardenia" from 'The Swing of Delight', the album he did with Shorter/Hancock et al. That one was a nice album, but a relative disappointment given the personnel. I like Carlos a lot on this cut, but the sax leaves me cold. I have not been a fan of Shorter's post-Miles playing, and really best like him with the Jazz Messengers. 8 - "Land of the Velvet Hills" by JOhnny Smith. Jimmy Atkins on vocal. That's perverse, Big Al! 9 - Time and place. Probably mid-60's, probably Verve records. Conversely to cut 1, I like this more than I should. It's a lot of fun, and the guitar parts smoke. From the words, I guess it's a cover of Jr. Walker's "Shotgun", but they've totally left behind the tune and changed the groove. 10 - Time and place. Probably 60's, probably Atlantic records. Surely the tenor player's album. Fathead Newman? Doing what he does, doing it well like he does. Works for me, YMMV, but hopefully not too much. And you just don't get good boogaloos anymore. 11 - The pianist's album. Sounds like something from Herbie Hancock's "Inventions and Dimensions" album, but it isn't, and certainly sounds like Willie Bobo,but I can't place it. I do like it. 12 - Right in my sweet spot. Something I surely have, by a tenor player I have dozens of cD's by, but I can't place the song and hesitate to guess at the player (maybe Lockjaw Davis?). Too much wonderful music, too little time. I could spend a lot of decades listening to this sort of thing. 13 - Gotta be Weather Report or a reasonable facsimile thereof. EP sure sounds like Joe Zawinul to me, gotta think it's Weather Report. I like it. The lack of synths and the solid bottom of the bass indicate that it would be pre_Jaco, which is a good thing to me. Whoever/whatever/whenever it is, it's good. 14 - Blecch. My first thought was Herb Alpert and the Tijuana Brass, but it's probably something like one of those early A&M/Creed Taylor Nat Adderley albums, before Don Sebesky got his footing and made those beautiful CTI albums. Really reall dislike that style of trombone playing, though I know others here are fond of it. No doubt has "historical significance", but still... 15 - Marginally better than 14, but still not something I'd ever want to listen to again. Alto player's album. Hank Crawford? Never have quite "gotten" him, even though I own some Atlantic and CTI stuff by him. 16 - Has to be Lennie Tristano with Lee Konitz, Warne Marsh, and Billy Bauer. Works OK for me, but it's cold. and George Russell and Cecil Taylor were certanily paying attention. I own it, I play it sometimes, I admire it. I don't love it. 17 - Not cold. Vibrato says Coleman Hawkins. Again, something I admire more than I like, something I no doubt own, and listen to once in a blue moon.

I also like the America date, with Eddie Preston, McPherson, Bobby Jones, Byard, and Richmond. Well worth having. My main regret about it is that "Love is a Dangerous Necessity" is clearly truncated, right when it really sounded interesting. I remember really liking "Peggy's Blue Skylight" from this session.

Was just thinking that. One of the foundations of my original jazz LP collection in the early 70's was cut-out Blue Notes.

Musically, history WAS more compressed and eventful back then. As far as jazz, look at 1945-1970, then look at 1985-2010. Pop/Rock/R&B/Soul, look at 1955-1984, and then at 1984-2013. I know I sound old, but still...

and Amazon has download for $9. Hoping to get the CD sets for less than what they are going for on Amazon.

Well, the Woodstock performance also had some of that, and it was pretty awful on balance. We'll see (and hear).

Daughter's Wedding !?! Congrats, blessings, and please email me!

And what's the cheapest way for a USA-based guy to get these two box sets legitimately and on CD?

Down to $109.75 on Amazon for the box set now that it is actually released. Still way too rich for my blood.

Linger Lane is not on the Select, and is not a favorite, but it was the exception rather than the rule to Hutcherson's output of that period and, as Jim says, isn't that bad. And you can't mess up "People Make The World Go Round" unless you try really hard. Natural Illusions is the other, worser Hutcherson dog from that period. Montara is actually good, even though it looks utterly commercial on the surface.

Agreed with the above on the Hutcherson's. The Hutcherson Select is well worth having, he was about the only one doing anything consistenlty interesting on the label during that period. I like the Henderson's well enough and do own them.. And I own and enjoy the Ronnie Laws as I've always loved the title track, even though the whole album on paper wreaks of why I hated Blue Note at the time. I'm not a fan of the Chico Hamilton's, though I know many others here are. Good to see some of those Elvin Jones titles coming out on CD - he stayed interesting throughout his stay at Blue Note, though the albums were basically ignored. The McCoy Tyner title is pretty great, and a chance to hear Andrew White in a featured role.

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You are blessed. My daughter says things like "give me the car keys" and "give me some money"!

The Walrus was Paul, and now we have clues on the true identity of Willie the Penguin! Kool!

Amazon says it will be released on 1/1/13. Will wait to see what import-cd, moviemars and the other resellers can do on the price.

I saw the same group in an outdoor show at Penn's Landing, and Mehldau had a courageous night. He started the night playing one style of solo, but he (and we) quickly realized he had a dreadfully out of tune piano (Waldron at the Five Spot with Dolphy and Little out of tune, for those who understand the reference), and he then changed his whole style to these nice, compact, Cedar Walton with the 1963 Jazz Messengers type of solos which the piano was much more forgiving on. As for me, I don't really want to hear 19 year old alto players doing ballads, because it tends to be painful!

I'm with you fully on this. A lot of Muse sessions clearly suffered from lack of rehearsal time, and could have/should have been done a lot better (a number of Clifford Jordan and Carlos Garnett sessions come immediately to mind), but there was a lot that was not going to get recorded at all if it was not recorded by Muse, and some of their stuff is classic (Roy Brooks 'The Free Slave', a couple of those Carlos Garnett albums, Woody Shaw 'Live at Berliner Jazztage', and there are others). Much of the Black Saint catalog is reasonably unlistenable to me, but what about that first Billy Harper album the label was named for? And no viable American companies were knocking down the doors to record him. Black Jazz made those incredible Doug and Jean Carn albums, and I can't begin to describe what those albums have added to my life over the past four decades. So I am incredibly thankful for those labels, for Strata East, Tribe, Horo, the whole scene.

Richmond is also my recollection.