felser

How do you tell the good guys? I know about Newbury Comics, but don't know who else I can really trust out there. I've had much bigger problems with the mom and pops (especially on grossly misgraded used discs, but also on non-delivery of new ones) than I've ever had with Caimen or the biggies. If Caimen doesnt' deliver and I request a refund from them, they give it to me. That's not been my experience with a lot of the smaller sellers on Amazon and Half.

Thx for the recommendation. Not familiar with this, but it's available for as low as $1.13 on Amazon Marketplace, so I ordered one.

Theresa records was Bay-Area based, so it is West Coast!

Agreed. "You've Got To Have Freedom" on this one is my favorite Phaorah cut of all.

He was a "guitar for hire", showed up all over the place, some memorable, most not. His late 60's/early 70's solo stuff was pretty interesting.

I'm thinking of going with that Sarah Vaughan + 2 album. Has anyone heard that one? Otherwise, Lou Rawls Live or some of the remastered Journey stuff.

I agree. Nothing more fun than giving away other people's stuff.

Isn't that an oxymoron? I end each track on 'Night of the Cookers' when Big Black starts to do his thing, go onto the next one.

PM sent on the Rava, Bartz, Franklin, Haynes, Bishop, Gibbs, Soft Machine British Tour '75

The bonus CD from Best Buy is four acoustic versions.

The twofer combining 'Libra' and 'Another Earth' is also well worthwhile. I still remember the pain of his commercial albums on Capitol in the mid-70's (saw him live during this period as a warm-up act to either Airto/Flora or Gil Scott-Heron at the Tower Theatre in Philly. Those two shows run together in my mind 30 years on). 'Home' is still MIA on CD, a great disappointment to me. I remember it being a really strong album, recorded at the Left Banke Jazz Society in Baltimore, I think that's Bartz' home town, hence the title.

Better fidelity and it would have been seen as a classic. One of my favorites as well. They were mining a different vein there. I've always enjoyed it a lot, bad sound quaility and all. Love the writing on it, and Corea plays great. As someone else here has mentioned in the past, Gilmore is underutilized, but what he does play is nice. While the bad recording does make it sound unique, it would have been even better recorded well with an in-tune piano.

If you can't get to $25, those CDs are like $5.88, so its still a very good deal. And in addition quite a few blues CDs are included as well. I took advantage of the discount on two of the three volumes of Freddie King's King recordings, which they may have called "The Very Best" but they are in reality his entire output. (Two of the three volumes are in the $5 sale, the other is a bit under $12. And I also got the complete Bobbin-King recordings of Albert King, which is a great set at a great price. So I'll offer an endorsement, as those CDs shipped very quickly when I placed my order (within a day, maybe two) and arrived fast even with Media Mail and were extremely well packed. And to top that off, you'll get a huge tabloid style catalog of other discs that are $5 each but are not available through the website anymore. Apparently they sold them all to another company, and the catalog runs the gamut of all styles of music, plus a lot of DVDs, too. Can't endorse them, yet, but I do plan to place an order some day. Oldies.com is the Collectables label website. They had a massive sale several years ago, and I picked up a ton of 60's garage stuff at $2.99 each. Order came fine - you won't have any problem with them.

"I Just Wasn't Made For These Times"/"Pet Sounds"/"Caroline, No", the final three songs on the Beach Boys 'Pet Sounds', have been running through my head off and on for weeks. Steve Miller's "Fly Like An Eagle" has had frequent spells in my head over the years.

Chewycosis. Actually, he's a good guy and I enjoy his posts. And I like that Philip Bailey album quite a bit. "Easy Lover" video is a classic.

Agreed - The version of the wonderful "Capra Black" on Last Session is incredible, much stronger than even the title track version on Harper's first album. I have great respect for Scott Yanow's AMG reviews in general, but he really misses the boat on this album somehow.

Do the right thing. But decide what that is first. Proper is doing absolutely nothing that the laws of their country prohibit. We've been through this so many times in so many threads lately. The box is an excellent value, but I find the later Atlantic recordings more to my liking.

Black Fire and Judgement would be the next ones in my book.

Another thing it does is give a medium to contrast differences of expression. Here's what I mean. Many painters will paint a still life (pieces of fruit laying around a compote on a white cloth, or whatever). In a sense, they're all doing the same thing subject-wise. But the still life paintings come out very different from each other. Even in a class of students all painting the same still life arrangement, not only are the styles different, but so are the angles and the cropping as well as the use the use of shadows and light and colors, etc. With the Jazz Messengers, you have hard bop with Blakey rimshots from 1954-1991, same subject across the years and bands. But, just to take trumpet players off the top of my head, you listen to Clifford Brown, Kenny Dorham, Donald Byrd, Bill Hardman, Lee Morgan, Freddie Hubbard, Chuck Mangione, Woody Shaw, Valery Pomenerev, Wynton Marsalis, Terence Blanchard, Wallace Roney, Philip Harper, Brian Lynch, and whoever I've missed/forgotten, and how they, quite differently from one another, musically paint their corner of the Jazz Messengers canvas, what each of them brought to the experience, what each of them took away from the experience. If Blakey had bounced from style to style, those comparisons would be obscured, and we wouldn't understand those musicians as well. Another example. A great way to understand what Coltrane took from Coleman Hawkins and what he advanced and made his own, is to listen to each of their versions of "Body and Soul".

Chuck, you have your stuff you get way too serious about, too! The name change thing is a fascinating story for anyone that doesn't know it. Silly edit. Yes, the uninformed are always fascinated. You still haven't forgiven me for John Handy - Live at the Monterey Jazz Festival meaning more to me than Albert Ayler, so you're following me around from thread to thread to torture me! I can tell my grandkids that I was harrassed by a legendary jazz producer! I didn't even remember that was you. Do you think you are being stalked. If so, call for help. I was responding to the words, not the writer. Now you're the one who's way too serious about this stuff! I'm starting a separate 'Chuck and Felser fuss at each other' thread so that we can return this thread to the discussion fo the new John Mellencamp album!

Chuck, you have your stuff you get way too serious about, too! The name change thing is a fascinating story for anyone that doesn't know it. Silly edit. Yes, the uninformed are always fascinated. You still haven't forgiven me for John Handy - Live at the Monterey Jazz Festival meaning more to me than Albert Ayler, so you're following me around from thread to thread to torture me! I can tell my grandkids that I was harrassed by a legendary jazz producer! I didn't even remember that was you. Do you think you are being stalked. If so, call for help. I was responding to the words, not the writer. Now you're the one who's way too serious about this stuff!

Chuck, you have your stuff you get way too serious about, too! The name change thing is a fascinating story for anyone that doesn't know it. Silly edit. Yes, the uninformed are always fascinated. You still haven't forgiven me for John Handy - Live at the Monterey Jazz Festival meaning more to me than Albert Ayler, so you're following me around from thread to thread to torture me! I can tell my grandkids that I was harrassed by a legendary jazz producer!

Shawn, the commercial takes the song out of context. Remember that GM and Reagan wanted to co-op "Born in the USA" as flag-waver song, and it's anything but. Listen to the whole song.

Chuck, you have your stuff you get way too serious about, too! The name change thing is a fascinating story for anyone that doesn't know it.

Somewhat, but not overt. It's a cry for human decency and the spirit of what this country can be at it's best, like 'Scarecrow' was. I'm a registered republican (who has big problems with both parties), and was not turned off at all lyrically (in fact I found them powerful and thrilling), and I can't imagine that a registered democrat would be turned off either. The album needs to be heard by anybody who's an American. Some of the U.S.-bashing corner of the European crowd won't like the lyrics, but this album isn't for them anyways.