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A GREAT set. Someome should jump on this ASAP!

I also prefer the Yardbirds to Led Zep (overall that is - the highligts of Led Zep can't be touched, but too much posturing in too much of the material for me) and Buffalo Springfield to CSNY. I also prefer the Byrds, the Hollies, Neil Young solo, and the best parts of Stephen Stills solo and David Crosby solo to CSNY.

Any chance that It's A Beautiful Day also got some relief in that judgement? If you're referring to It's a Beautiful Day's self-titled album, that one was reissued on CD in 2001. It's still available from Amazon.com and other stores. There's been a problem with US release of their entire catalog. I've managed to get import CD's of their first two albums plus their live album, but would like to get the other two titles (bad as 'Today' probably is, without David LaFlamme), remastering, bonus cuts, etc. CBS had a 2CD retrospective equivalent to the one they did on Moby Grape in the 90's and were blocked legally from putting it out due to court actions. It's a Beautiful Day and Moby Grape shared the same seemingly unscrupulous (I don't know his side of the story) manager, Matthew Katz, during their tenures with Columbia records, and he has blocked legit US releases of their catalogs for many decades.

Any chance that It's A Beautiful Day also got some relief in that judgement?

Sundazed does a spectacular job in remastering - the sound should be great.

I was never a huge Moby Grape fan, like their first album a good bit, love "Omaha". I'm not a country rock guy (the Byrds totally lost me with 'Sweetheart of the Rodeo'). I've never gotten 'Oar' at all. Sounds to me like what I understand it to be, the semicoherent ramblings of a madman. But I know a lot of people love it.

Listen My Friends: Omaha!

I remember liking those Michael Howell LP's quite a bit. But that's 30 years back.

PM sent on all three titles.

Sony/Columbia could have stopped this release if they noticed/cared. Cool. I was thinking along the line of Granz. . . .I shouldn't have said probably, I was actually thinking "possibly" but wrote probably. You'd think they WOULD HAVE stopped these, or gotten their cut. . . are they just so not paying attention? If anyone noticed (most folks with that info have been fired by the majors) they would have demanded rights, paid "venue rights" and issued it with some payment to the owner of the tapes. It's so hard to believe there's no one around who would know! WIERD. Sad. Shows how little interest, numbers wise, there is in this great music. I always think of those amazing OJC Limited Editions, like the Wlt Dickersons, which apparently never sold their allotted 3000 CD's.

I loved "Progressive Blues Experiment" and "Second Winter"! RIP.

There's also a Miles '63, a Dizzy '65, and a Sassy '71 set coming (description includes Bob Magnussen "groovin' the bass" - they're repeating bad cliches, although at least they got the instrument right this time, didn't have him on cello like they had Rouse on alto). I'm especially looking forward to the Miles, as I really liked George Coleman's work with Miles/Hancock/Carter/Williams. I assume it's Coleman here - not sure when Strozier, Rivers, and Stitt had their spells in the group. BTW, not a thing ablut any of these on their home page or new releases page, you have to go search by artist or label to see the descriptions. How messed up is that?

Parks is a very good post-bop/mainstream pianist. I discovered him when I got a couple of CD's of his in a huge lot of mostly obscure jazz stuff I got from a good guy in Seattle. His CD's were keepers for me, but of course I paid a lot less than $20 a pop for them That being said, the $20 asking price isn't out of line compared to what they're going for on Amazon.

The Ella/Billie/Carmen CD came out many years ago with several unreleased tracks. Nice to have and of great historical significance.

Chuck, maybe you had to be there to really appreciate that one Seriously though, no reason to worry about that recording.

Now this could cause my first order with Mr. Tanno! That's also the one that jumped out and made my day.

"jazzy wazzy jazz", plus the one that WMMR in Philly (the supposed "real jazz" station here, but it's awful now) actually inflicted us with: "turn on the quiet". Can "all kenny g, all the time" be far behind?

'Sun Ship', to me, clearly ends an era. It's like he had been hanging on a cliff up to that point, then let go starting with 'Kulu Se Mama' the next month. Pharoah Sanders jumped in for the ride when he started the freefall from the cliff. Tyner and Jones were casualties. The transitional recordings of this period can be very painful to listen to (I'm thinking of 'Live in Seattle' and the dreaded 'Om'), in large part because of how at times Tyner and Jones don't fit where the music is going ('Meditations' being the exception - everything somehow came together on that album). Alice Coltrane and Ali were needed to bring some unity of direction. I don't like the late stuff nearly as much as what came before it, but I wouldn't have wanted Trane to stop his journey and repeat himself. I think he had done what he could do with the Tyner/Jones group, and needed to keep going out to see what that held. I actually even find his '67 work (I'm thinking of 'Expression') to be very different than his '66 work ('Live at the Village Vanguard Again', etc.). The fury in so much of the Sanders-era late '65 and '66 recordings was being replaced by something different. Not sure exactly what Trane was looking for in '67 - he didn't find it before passing, at least on record.

That one is pretty cool. It's a quartet with two keyboards (Haynes and Kirk Lightsey), bass, and drums. Some of the Corea/Hancock stuff is pretty nice, but I would have just as soon (in fact rather) had solo renditions. I attended one of their shows in the 70's at the Tower Theatre, and it was pretty tame, all things considered. I find the two-keyboard stuff that Zawinul and Hancock did on the 1970 Joe Zawinul album to be beautiful, but that's in the context of a full group. Likewise, the Corea/Hancock/Zawinul stuff on 'In A Silent Way' is pretty wonderful. The two piano idea seems to work better with electric keyboards because of the differing sounds/textures which can be achieved. Some amazing things have been done with two keyboards in Rock by groups like Procol Harum and Rare Bird.

It would have to, but those Evans overdubbed duo session have always sort of creeped me out.

I really like 'Handscapes' by the Piano Choir, a 1972 Stanley Cowell project which came out on Strata East. Seven pianists participated. Included Cowell, Harold Mabern, Hugh Lawson, Sonelius Smith, Webster Lewis, Danny Mixon, and Nat Jones. Also like 'Rhythm-a-ning', Kenny Barron and John Hicks with bass and drums (Walter Booker, Jimmy Cobb), a 1989 session on Candid. Hard to go wrong with 12+ minute renditions of their greatest compositions, Barron's "Sunshower" and Hicks's "After the Morning". But those are the exceptions to the rule for me. In general, I agree with Chuck, bad idea.

Gee, never thought of it that way (those ways).

I was thinking the same thing - Aric w/o the Chewy persona. The "breaking into the warehouse" line sounded familiar... First clue it wasn't Chewy was that there was no mention of Hank in the rant.

I don't like the last Catalyst album, 'A Smile and a Tear' which had commercial influences of the time. What I heard of Ron Thomas's playing in the 70's (only heard the Muse albums) didn't do anything for me. When I heard him in the 90's, he had a totally different conception, and a gorgeous, Bill Evans-like touch. 'Essence' has never been on CD, at least in the USA. I would have grabbed it immediately if it had been. In the Muse catalog, I most miss it and the best Carlos Garnett albums ('Journey to Enlightenment', 'Let This Melody Ring On') not being on CD.