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That one reissues 'Cassandranite' (1965 recordings with Joe Henderson, and Larry Young on piano) amd 'Love Dance' (1975 recordings with Billy Harper and Joe Bonner). Good stuff.

I felt that way too about the Columbia stuff, even 'Rosewood', which won Down Beat album of the year if I remember. Muse in general used to put out a whole lot of underrehearsed stuff (Carlos Garnett comes immediately to mind - as good as some of his albums on Muse were, they should have been even better), but I quite like most of the Shaw sides on that label. And a lot of stuff came out on Muse by a lot of artists that likely would never seen the light of day if Muse didn't exist.

Also slow for me today, which it is frequently both afternoons and evenings.

Check out some of the earlier sets that originally came out on Muse and were reissued on 32jazz, especially 'Live at the Berliner Jazztage' (available on the 32jazz reissue 'Two More Pieces of the Puzzle') and 'Swiss Radio Days'. These are the highlights of his association with Louis Hayes, my favorite period of his. The same group is heard to good advantage on Hayes's 'The Real Thing', also on Muse/32jazz. and traditional wisdom has always named 'The Moontrane' and 'Rosewood'. His first as a leader, 'Blackstone Legacy', is pretty great in what the bastards at DustyGroove would call a 'soulful, spiritual, modal groove', with nearly sidelong extended cuts, period electric piano by George Cables etc. 'Little Red-s Fantasy' on Muse/32jazz, with Frank Strozier, is really nice. I also really liked his work with Blakey on 'Anthenagin', earlier with Cedar Walton on electric piano (he was one of the few who, to me, had a personal touch on that instrument), Carter Jefferson (I think), etc. But every Shaw album has it's merits. You won't go wrong with him.

He could pull it off, if anyone could. Agreed, but why would he lower himself to do that? It'd be like Paul and Ringo joining with the original guitar player to reform Herman's Hermits. On the other hand, just showing that he can might be reason enough for Todd. Anybody remember the album side on 'Faithful' where he attempted (pretty successfully, truth be told) to become the Beatles, Dylan, Beach Boys, Yardbirds, and Hendrix on covers of their songs? I listen to 'Back to the Bars' more than any other recording of his, greatly enjoy a lot of the Nazz stuff and the later Todd stuff as well as the classic 70's recordings, and my favorite song by him is "A Dream Goes On Forever", especially the live version. I have a friend who went to high school with Rundgren and tells a really funny story about how he was totally convinced that Rundgren had blown his shot at the big time by quitting his guitar slot in Woody's Truck Stop (one obscure post-Rundgren album on Smash) to start some unknown group called the Nazz. Same friend tells another funny story about expecting the Beatles to fade way quickly as a fad, that he was convinced that the really substantial British Invasion group was the Dave Clark Five.

I have the Definitive set. Sound seems fine to me, based on my expectations. Those sessions have never sounded very good (audio quality) to me in any of the incarnations that I have heard them.

Shaw was only 18 when that was recorded, was just on the cusp of entering that universe (don't know exactly when he started playing with Dolphy, and his 'Iron Man' sessions contributions don't amount to much. He was still two years away from anything very recognizable as the great talent he was ('Cape Verdean Blues'.'The Jody Grind','Cassandranite') unless I've missed something from a bit before that.

Guys, it wasn't a "missionary" post. Thanksgiving is a national holiday in the USA. This was part of my celebrating it, remembering to whom and for what I am thankful. What you choose to do with the day is up to you, but does that mean I have to acknowledge it in your way only? Is absolutely any mention of God considered a religious posting? And can 'A Love Supreme' not be considered on this board in the context in which Coltrane intended it? Or does discussion of 'A Love Supreme' belong in the political forum?

Rotary Connection - 'Peace', 'God Bless Ye, Merry Jazzmen', a great CBS release with selections recorded for the project by McCoy Tyner, Dexter Gordon, etc., and, sorry to say, 'Johnny Mathis - 'Merry Christmas Johnny', which I grew up on and which has always been inseparable from the holiday experience for me.

Thanksgiving Day - while remembering our other blessings, let us give thanks to the Creator for this beautiful music and the magnificent musicians who have delivered and continue to deliver it to us, especially John Coltrane, whose liner note poem from "A Love Supreme" is pasted below the brief Psalm. "Enter into His gates with thanksgiving, And into His courts with praise. Be thankful to Him, and bless His name." Psalm 100:3 A Love Supreme I will do all I can to be worthy of Thee, O Lord. It all has to do with it. Thank You God. Peace. There is none other. God is. It is so beautiful. Thank You God. God is all. Help us to resolve our fears and weaknesses. In you all things are possible. Thank you God. We know. God made us so. Keep your eye on God. God is. He always was. He always will be. No matter what... it is God. He is gracious and merciful. It is most important that I know Thee. Words, sounds, speech, men, memory, throughts, fears and emotions--time--all related... all made from one... all made in one. Blessed be his name. Thought waves--heat waves--all vibrations-- all paths lead to God. Thank you God. His way... it is so lovely... it is gracious. It is merciful--Thank you God. One thought can produce millions of vibrations and they all go back to God... everything does. Thank you God. Have no fear... believe... Thank you God. The universe has many wonders. God is all. His way... it is so wonderful. Thoughts--deeds--vibrations, all go back to God and He cleanses all. He is gracious and merciful... Thank you God. Glory to God... God is so alive. God is. God loves. May I be acceptable in Thy sight. We are all one in His grace. The fact that we do exist is acknowledgement of Thee, O Lord. Thank you God. God will wash away all our tears... He always has... He always will. Seek him everyday. In all ways seek God everyday. Let us sing all songs to God. To whom all praise is due... praise God. No road is an easy one, but they all go back to God. With all we share God. It is all with God. It is all with Thee. Obey the Lord. Blessed is He. We were all from one thing... the will of God... Thank you God. --I have seen ungodly-- none can be greater--none can compare Thank you God. He will remake... He always has and He always will. It's true--blessed be His name--Thank you God. God breathes through us so completely... so gently we hardly feel it... yet, it is our everything. Thank you God. ELATION--ELEGANCE--EXALTATION-- All from God. Thank you God. Amen. -John Coltrane (December, 1964)

I concur. The sound is awful, but the music is so great, you gotta have it anyways.

Those of us on a tighter budget care! I do have the original CD. ← I have the original cd too, as well as the original of "Another Workout". It would be nice to have them reissued though! Good music! Which Mobley albums are you referring to that haven't 'been done', Jazz Kat? ← Some of the 50's stuff on the Mosaic box haven't been domestically issued on individual CD's.

Those of us on a tighter budget care! I do have the original CD.

I strongly recommend 'Mr. Guitar' as your next Wray purchase, 63 cuts from his Swan early-mid 60's recordings, which to me was his apex. "Rumble" was a landmark, but a lot of the other 50's stuff was pretty painful to listen to (C&R, MOR orchestrations, really bad vocals on songs where they don't fit, etc.). The Swan stuff rips start to finish, and benefits from the influence of the advances in rock in that era. http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:zlq8b5p4nsqa

I am looking for a 2CD set by elctric violinist Don "Sugarcane" Harris called 'Anthology, Vol.1". Does anyone know where I can buy this? It seems to be out of stock wherever I look. Here's a link to a picture of it: http://www.amazon.com/exec/obidos/tg/store...0497998-2531241 and a description of the contents: http://www.sugarcane-harris.com/cdinfo.htm thanks

"Ghetto" is on the Live cd... ← I'm checking in as another major Hathaway fan.

But the missing track is an incredible version of "Drought", which shouldn't be missed. The remastering is also much better on this set. No idea why "Drought" was left off the Strata-East CD, it was on the original vol. 1 album, the CD had plenty of time left (only ran about 60 minutes, and "Drought" is 9 or 10), and even if you needed to leave a track off, that wouldn't be the one.

Mosaic could make a select by combining the three Handy Roulette albums with Charles Mingus's 'Mingus in Wonderland', which was on UA and featured Handy. "The Complete Roulette and UA Small Group Recordings of John Handy" (don't think I'm missing anything that EMI controls rights to, but I'm sure someone will let me know). I'd buy the thing immediately.

Then you've never heard "Black Miracle", Milestone's 1975 George Duke-produced attempt to cross him over.

AMG says: Clyde Hart's death just as the bop revolution was taking hold robbed him of the opportunity to be a major force in the music. Very active during his final year, Hart was an important transitional figure between swing and bop and would certainly have been on many significant sessions during the next five years had he lived. Hart first worked with Gene Coy, Jap Allen (1930-31) and Blanche Calloway (1931-35). After a brief stint with the declining McKinney's Cotton Pickers, he settled in New York where he led his own quartet, arranged for Andy Kirk and made quite a few recordings (including with Billie Holiday and Red Allen) as a supportive pianist. Hart had stints with Stuff Smith (1936-38), Roy Eldridge, Lester Young, Frankie Newton and the John Kirby Sextet (1942-43) plus often jammed at Minton's Playhouse. He also played with Wilbur DeParis, Walter "Foots" Thomas and Tiny Grimes (1944). After working with Don Byas in early 1945 and recording with Charlie Parker and Dizzy Gillespie (including "Dizzy Atmosphere"), Hart contracted tuberculosis and died just as he was entering the prime of his career. Clyde Hart led three recording dates between Dec. 19, 1944 and Jan. 4, 1945 for Savoy and Continental with such notable sidemen as Parker, Gillespie, Byas, Trummy Young, Oscar Pettiford, Benny Harris and singer Rubberlegs Williams.

Great show, great company. Nice to meet Ron S and Alan. Alexander played beautifully, Mabern was wonderful, John Weber on bass and Willie Jones on drums were an outstanding rhythm section. Jones played with a tiny set, no toms, but was all over it, sort of like Roy Snap Crackle Haynes. First set was "Where or When", "Wave", "It's Magic","This Here", "Sugar", and "With a Song In My Heart". Second set was, if my ears caught it all correctly, "How Insensitive", "Traneing In", "It's All in the Game", "Listen Here", "Naima", and "Cherokee". Alexander has an exquisite tone, plays a ballad like no one else, and is all over the changes on the uptempo items. Mabern remains a very inventive pianist, and his after-song announcements and stories were fascinating. Chalupa, you shoulda been there!

The Bluesway stuff is a very different body of work than what came before, much more electric and 60's rock influenced. I strongly prefer it, but suspect that each person's preference will depend as much or more on which genre of the blues they prefer as opposed to which King is "better" on. I know that's the case for me.

Tom Peron - Interplay. He's a fabulous trumpeter out of the Bay area. I had never heard of him before getting a CD by him in a private collection I purchased. Was blown away by the warmth, clarity, and swing of his playing. His other CD, 'Dedication', is even better. Has a tenor player named Darius Babdazeh, who has the Joe Henderson thing down.

Wish they would do a good Clarke-Boland set.

Kevin, I was shocked to read you having such a high evaluation of this. I respect your ears greatly, so I'm open to the possibility that I'm somehow missing something on these Parker's. Can you expound a little on what you like so much about these? Is it strictly Parker's playing? The writing? The loose feel? thx. I sincerely would value your thoughts here.