danasgoodstuff

last time I checked Vinyl Resting Place here in Portland still had a bunch of SEALED Cadet/Argo LPs by Ahmad Jamal, among others. Lots of the classic trio, but other stuffs as well, like one with a fiddle player and guitarist added. Don't forget, before the trio with Isreal and Vernal he had a Nat Cole-style trio with Barry Gailbraith & _____(?). equally good, but the reissue I heard on CD had mediocre sound...

clem, the sound is OK but a little on the dull side. Would I be overly cynical to suspect it's that way on purpose to avoid jarring transitions between the studio stuff and the stuffs from the BBC and genuine live? By the way, it has one cut from Mahoney's Last Stand (the only cut w/out proper credits!), how's the rest of the album? Dana

The Hubbard solo stuff may have been so-so, but the two co-led with Woody Shaw were wonderful and have already had their deserved reissue. Totally agree on the excellence of the Geri Allen, Ralph Peterson, Jack Wlarath & Bobby Watson titles already mentioned. The Adams/Pulllen Quintet and Pullen solo are about to be Mosaic-ed... I'm also quite fond of an allstar jam thing they did called New York Stories which featured young lions such as Watson, Redman, Hargrove(?), etc. and Danny Gatton as the ringer. I think the two Don Grolnick(sp?) BN's would fit this criteria as well. So, I guess the short answer is "yes"...

I, too, like this one. In part, I think, because it's one of his more straightforward, less concepty albums. Or, maybe, the concept is just too subtle for the likes o' me. Not quite an 'old school' blowing session, but much more to that side than a lot of his other stuffs (some of which I like too). Clarinet is, of course, a lovely instrument but I think it's strong association with the Swing era may have held it back in more modern times. Most of us, after all, pick our instruments when we're just starting out and are prone to making superfical judgements....

The other reason 'they all do it' this way is because those who didn't went under, e.g. Artists House. Record companies also screw each other this way, see Atlantic's distribution contract with Stax which (when they finally wrote it down) gave Atlantic ownership of any and all Stax masters on which they exercised their distribution option...

Kenny Burrell did an album dedicated to a local venue called the Bluebird. Many of the city's R&B session guys played jazz on their own time, some recorded. Is Houston Person from Detroit (he recorded at the Club Mozambique there)?

Kenny Burrell did an album dedicated to a local venue called the Bluebird. Many of the city's R&B session guys played jazz on their own time, some recorded. Is Houston Person from Detroit (he recorded at the Club Mozambique there)?

Could be Lovano used Motion on this project as payback for Motion using him on all those trio Standards albums Motion did a decade back (which are lovely)?

pRETTY MUCH A FAN, UP TO A POINT AT LEAST. (sorry didn't mean to go all aric on you!) But without Mason, it pretty much was the Winwood show. He's a talented guy, and certainly looks/sounds like he took better care of himself than some (he is a little younger than many of his peers). But after Mason left and Woods died, what's the difference between a Winwood solo record that Cipaldi (sp?) plays on and a Traffic album anymore? More talent than he quite knew what to do with is the bottom line for me I guess...

Stefan, Of course the live renditions of Stewart solo stuff never appeared on Faces albums...except the live album which did have some live renditions of tunes originally appearing on Stewart solo albums. The point is that, with the exception of certain cuts which were, the solo albums were not Faces albums in all but name, most of the cuts had a distinctly different band on them. But when they toured the Faces were pretty much obligated to play some of that stuff, making for an interesting comparison with the studio versions... as for what I find less than perfect, three versions of "Miss Judy's Farm" is at least one too many and while "Dishevelment Blues" illustrates a v. funny story, it is exactly what it was meant to be, bloody awful. If cut, there would be room for two more staples of the live rep: "All Over Now" & "Memphis". Near perfect is more than close enuff for me. Dana

It's a subtle reference to Oran 'Hot Lips' Page, KC trumpeter extrordinare.

Bought it the day it came out, working on a long review which I'll post on my website if I ever get one...I think this is a fine box, maybe 2 tunes away from perfect (given it's scope as a given, i.e. no Small Faces, no Stewart solo stuff (what the previous poster refered to as such are live/BBC renditions of tunes Stewart did on his solo albums, not quite the same thing...)).

Five Guys Walk into a Bar is v. nice but not perfect. The blues from a flexi disc is awful and 3 versions of Miss Judy's Farm is at least 1 too many; they couls've/should've included staples of the live rep like "It's All Over Now" and "Memphis" instead. And I can't help thinking how much I prefer Micky Waller's drumming to Kenny Jones (who's not bad, he's just not Micky Waller).

William 'Smokey' Robinson Willie Nelson comments to be added later

I should probably move this to discographies, how do I do that?

Yeah, but unlike most C&W stars, at least he had an excuse! Seriously, a Nudie suit for Ray with sunglasses and canes would've been too much...

jazzdisco.org lists a recording session/live date for the Aylers and usual sespects at the Village Vanguard in April '67, all "rejected"...Does anyone know: was there a technical problem or did Impulse!(?) just prefer the earlier Village Gate and Village Theater performances?

Every year I buy the Critics Poll issue and add up the votes of artists who get votes both as established and 'rising star' (formerly TDWR). Kinda obsessive, but a lot of guys get hung up between the two. Perception is all....

l p Henceforth please spare yourself the evident pain of listening to any unissued recordings by Mr. Rollins that may come your way by just sending them on to me. COD if you please... By the way, Coltrane said of their meeting on Tenor Madnes "[Rollins] was just playing with me].

Love this album/CD, but the running order seems totally bass ackwards to me. I can't imagine that Alfred would've put the slow blues at the start and the ballads at the end...I would alternate uptempo and ballads and put CC Rider at the end. A small quible, but still...

Love this (no surprise to anyone who's tracked my input here). One of the great cultural acheicements of the 20th century (no hyperbole). Yes some of the backing is pop in the worst way, but in context that was a show of solidarity by Ray since that was the price C&W and R&B had to pay for respectability back then. "If I could moan like a mo'ning dove"... There's a box that collects all forays into hayseed hickatude and hillbilly soul.

I too would love to see On Broadway reissued (in any format), plus some of his unissued BN stuffs might be nice too....

I believe we had a previous thread on this issue that was both more polite and more enlightening. As I recall, everyone agreed that there was a definite change in Anthony's playing but, while not everyone dug it, it could hardly be called "bashing". Perhaps some kind soul could give us some linkage?

Double Image is typical grey-market Lost Quintet, two long but still incomplete edits of train of (un)consciousness medleys, OK sound, fascinating if sometimes frustrating performances...similar yet different from other such.

And the multiple quotations of "Ain't Necessarily So" make it v. ironical and post-modern, in a good way.