felser

Mine only fetched $56.00 (ended Saturday), so the price is coming down. PhillyQ got $81 for his. It's all relative.

I'm with you there.

Mine only fetched $56.00 (ended Saturday), so the price is coming down.

To me, 'Other Aspects' is a dog, failed experiments should have stayed in the can, but other than that, I can't think of any.

Some great stuff - the Harold Land's with Bobby Hutcherson, the first two Buddy Terry's.

up

'Sugar' and 'Red Clay' are maybe THE two CTI albums of all time. They are of their era, but very enjoyable.

This is definitely my favorite Dolphy album, showing that he was continuing to grow as a musician right up to his death. Recorded in Europe on Jun 2 1964, the same month Dolphy passed, this album features a stunning flute rendition of "You Don't Know What Love Is" which is beyond beautiful, and a kick-butt bass clarinet performance of "Epistrophy". Each exceeds 11 minutes. The European rhythm section, Misha Mengelberg, Jacques Schols, and Han Bennick, support Dolphy beautifully, and the spoken snippet Dolphy ends the album with is haunting. The other performances are also strong. This is a much more "inside" set than 'Out to Lunch', but Dolphy thrives on the structure. That was also true of the earlier "In Europe" albums released on Prestige, which also rank among my favorites of his.

I have received probably 150-200 CD's from Adam over the past 18 months, and have always found the CD's to meet or often exceed the condition that he stated. When he says they are perfect, they are perfect. When he says there is minor scuffage, it is oft-times almost microscopic, and always clearly VERY minor. It may be that the CD's were somehow damaged in transit, as I know that Reinier is also quite honest (I've dealt extensively with both, and have found both to be really good guys), but I will vouch in the strongest terms for Adam's integrity and his ability/willingness/desire to correctly/conservatively grade his CD conditions.

Snapper is a seemingly legit British label, have a lot of pretty wonderful rock sets out, including the complete Fleetwood Mac live at the Boston Tea Party on 3 CD's - the best example to be heard of the Peter Green/Danny Kirwan guitar magic. Recall is a budget label, great prices, I've always thought their mastering sounded very good, but they never give sufficient documentation of the source of the music, always a frustration.

I put mine out on ebay yesterday, $49.99 minimum, $79.99 buy it now, $3.00 shipping ($6 overseas). I'll report back how it goes. No bids and one watcher so far.

PM sent on this one: Marian McPartland - Piano Jazz with Lionel Hampton (Jazz Alliance, original issue - factory sealed) - $5.00

I'm a big McPhee/Groundhogs fan, though I found their work with Hooker to be pretty anonymous, as it was very early. McPhee has resurrected the Groundhogs name through the years, and rightly so, as he was basically the whole show. Their late 60-s/early 70's stuff is very rewarding British Blues/Hard-Rock. He was probably about as interesting as anyone in that vein (in the narrow sense - I'm not including Led Zeppelin, etc.) except the amazing Rory Gallagher and the Danny Kirwan versions of Fleetwood Mac.

Chico Marx reference noted (and appreciated)!

Nope, I didn't put mine out on ebay yet. That band was revered back in the day - well beyond what the recordings deserved overall IMO (this was the age of all the well-dressed 20 year olds with nice hats getting major label contracts in the wake of Wynton's initial success, which led to some pretty pedestrian soloing over some pretty efficient rhythm sections - the dawn of the era of session leaders coming out of high school and college classrooms rather than working bands. Marlon Jordan and Antonio Hart and Amina A.W. Murray, anyone?), but to me the live was by far the best of them. The tunes were stretched out and fiery compared to the studio CD's.

Sassy's voice is astounding on this, absolutely heavenly. I love her early vocals best of all, and this is a great place to hear them.

Well, if that's your idea of fun, I just learned a lot more about you today.

ONE of the reasons I favor the second scenario is that it enables a secondary market,with ALL that entails. Also, the time involved in downloads (I buy a LOT of CD's), the quality of the CD itself vs. the CD-R (I'm in the camp that believes CD-R's degrade quicker than CD's), and the packaging. liner notes and related info, the print quality involved in the real artwork vs. what I am able to produce on my home inkjet with all-use paper, etc. And that preference doesn't make me some sort of freaking idiot deserving your public scorn and your oversimplification/distortion of my points. If you disagree, just say you disagree (or don't bother), and spare me the bold font and the little faces. And it's interesting that with all your posts about standing up to what we feel is wrong and making ourselves heard, etc., that you're now saying we should roll over and give thanks for an inferior product because maybe the companies will make enough off of it to not withold product from us. And THAT fits my definition of exploitation more than Andorran companies adhering to Andorran copyright laws does. If the choice given to me in the marketplace is between an Andorran CD and a US download, I am going to go with the Andorran CD and my conscience will feel just fine with it.

PM sent on keith jarrett-el jucio $8.00

OK, we just have different opinions on CD's then. I love them, always have, saw them as a huge step up from what was available on the market previously (LP's and especially tapes). I remember groaning at how easily LP's would get scratched, or warped, or the jackets would split. Wasted so many hours in second hand stores, looking at LP's in substandard shape. The ability to so easily go from point to point on CD's was great, the sound quality of one done right was such a pleasure.

But, Lon, acknowledge the point I was making, this is a change being pushed by the companies for their profits, not pulled by consumer desire to change to a better format, the way CD's were (at least for many of us). Concord (and the whole industry) was dishonest in trying to indicate that the switchover to digital is due to "customer demand". That's my point.

I can resell a CD if I decide I don't like it. I can buy multi-cd lots on ebay at very low unit prices and explore stuff I'm not familiar with. Some CD's appreciate in value (hello Mosaic), so I can buy those and explore, knowing that I can get my money back if I don't want to keep it. I can legally trade one CD for another CD without breaking any copyright laws, thus being able to further explore more music.

I agree with you, but that is also the basis of my argument. There are no indications from the companies (that I'm aware of, there sure aren't any in the current marketplace) that there will be any price breaks offered at all on downloads, and I don't see any other possible benefit (you can always throw away the jewel case!).

I agree with Chewy 1 - Kids buy downloads for their Ipods. Adult jazz fans buy CD's. This (switching the jazz to downloads) is a case of industry push, not consumer pull, driving the format change for jazz. How many of you really WANT the music delivered to you in downloads instead of CD's, rather than just tolerating it? We wanted CD's because the benefits were obvious. Benefits of downloads are zero, as you can burn from your own CD's if they deliver the music in CD's. 2 - The REAL industry trend is that people are buying less, period. Understandable considering the dearth of meaningful new pop music and drying up of the reissue market.

PM sent on the following: Donald Edwards, In The Vernacular (Leaning House Jazz) $9 NOW $7 Robin Eubanks, 4: J.J./Slide/Curtis and Al (TCB) $8 NOW $6 Rick Germanson, Heights (Fresh Sound New Talent) $9 NOW $7 Donald Harrison, Real Life Stories (Nagel Heyer) $8 NOW $6 Tim Richards Trio, Twelve By Three (33 Records) $7 (Three Sounds inspired piano trio) [Randy Sandke, Cliffhanger (Nagel Heyer) $8 NOW $6 Michael Thomas Quintet, The Awakening (JazHead Entertainment) $7 Peter Martin, Something Unexpected (MaxJazz) $8 NOW $6