danasgoodstuff

I agree with the 'it's the player, not the instrument' contingent here. I would go even farther (further?) to say that if I do have a preference here it's for bass as a role, i.e. to provide the 'base', and that I don't care if it's standup, fender, tuba or bass sax. In this sense Adrian Rollini was a great base player, as is the tuba/sousaphone(?) player in the Dirty Dozen, but that Jaco P. and Scotty LaFaro, while great at what they did, weren't base players at all... I hope this is clear and nonoffensive to all.

Lon, did you get that saxcello pic from cybersax.com? A great site (just watch the spelling!) and where I bought my Conn C-melody...

My Fav Mosaic? Why, it's always the next one I'm gonna get, of course!

I just wanted to add that, IMHO, "Shake" & "Ain't That Peculiar" on this fine albu show that R&B tunes can work on a jzz album, on hyphens or apologies needed...

I've recently managed to pick a couple of duplicate LPs 'cause I couldn't remember what I already owned (too many, obviously). Matbe we can trade... Have: Stanley T - In Memory Of (BN rainbow) Woody G - Dust Bowl Ballds (RCA 60's winerack reissue) Want: Stanley T - Dearly Beloved, Jack Wilson - Easterly Winds, Sam R - Contours, Big John P - Oh Baby!, Lou D - Mr. Shingaling, WHY?

This being AOTW caused be to listen to my Liberty-era pressing last night (I gotta get a better copy!). My first reaction was "what's not to like?" Eric and the usual suspects... but then I thought maybe what puts some people off this session (other than impossibly high expectations) is a 'neither fish nor fowl' syndrome--instead of being too out, it may be not out or in enough. Let me try again: When this was issued, a successful inside/out session probably seemed like quite the high wire act but to listeners comning to it for the first time now (I first heard it in the early '70s) it may seem like someone walking the wire when it's laying on the ground, i.e. no bitg deal. I love Out to Lunch but sometimes have an analogous reaction to soul jazz sessions that strike me as neither jazzy nor funky enuff, just kinda luke warm...y'all know what I'm saying? I agree with the posters above, the compositions are key; it's NOT a blowing session...if that's what you want Eric did lots of those for Prestige.

Thank you.

I run somewhat hot and cold on Mr. Shepp; Four For Trane, the first side of Fire Music, the title tune of Mama Too Tight (even if it sounds v. like JB's "Money Won't Change You" to my ears) and occassional other tune on Impulse are all hot, IMHO. I also v. much like the duets with Horace P. (Going Home and Touble In Mind) even though they are too meditative to be acurately described as "hot". But everything I've heard since then (20+ years) has shown evidence of severe embachure (sp?!) deteriation, odd since he does seem to work pretty steady nonetheless. And he always seemed to have an extramusical agenda, like he was more in love with the idea of being a sax player than interested in the work it took to actually be one. But when he was on, it really was the Fire (Music) This Time...

I haven't received my discs #4 yet either (I'm in Portland OR), perhaps I should talk to the Post Office or were they sent by another carrier?

I'm sure you didn't mean the empty Quote boxes as symbolism, but the're too perfect... Oh and I have listened to a little bit (as much as I could stand) at the listening station at Borders, some of Madlib's Bluenote thing too. Didn't do nothing for me.

It (Jim Hall Jazz Guitar 1st pressing) goes for that much because a really clean copy, in effect, is the master--it's the only way to get the unedited takes and the only way to get one tune at all.

I knew someone once who did them by record label and in catalog # order! But then I knew a guy once who carried around photo's of his record collection to show off like they were his kids...

As far as the 'collectability' of Pacific Jazz goes, a copy of PJ-1227 Jim Hall Jazz Guitar recently went for $308.96 on eBay (item #2577494553). Considering that it was a first pressing and only the edited 2nd pressing masters remain, I'm surprised it wasn't more. Unfortunately I can't afford to bid that high!

I would catagorize my music collection as really excellent, obviously compiled by a man of exquisite tatste if not wealth... Seriously, the LPs are all together, alphabetical by artist, chronilogical within artist, except where I split the studio and live (Charlie Parker may be the only one I do this way, Jazz @ Massey Hall is Live Parker on my shelves), and various artists after Z. The LPs are on a mix of home built and store bought wooden bookshelves around the perimeter of my music room (the former garage, refinished at great expense). Conversely, the CDs are broken into catagories and scattered around the room on various storage devices according to the available space; kinda the way we do things at the library... Jazz CDs are on the aforementioned bookshelves, pop/rock on one side of a spinner, R&B on the other side, blues on a wood rack on the wall, C&W in a wire rack standing on the floor, etc. Mosaics have a special space in the entertainment center housing my stereo equipment, as do unsorted 45s, James Brown CDs, and other odds and ends. As I run out of space I find myself inventing catagories like Things From Memphis (Stax & Hi) and Art Pepper CDs which get their own wood crates. I've got neat little drawers for K-7s but haven't finished putting them away. And, of course, lots of piles of stuff 'to listen to' sitting on the floor and on top of file cabinets, etc. And my wife calls it "a mess"!?!

Now I really will have to find and post my Hank Mobley poem, along with something by my brother Sam a far better writer than I. Maybe in a seperate thread.

OK, I got another Q related to the ones above. I have some CD labelling soft ware which I haven't loaded yet and am wondering if in the meantime I can write a little something right on the top side of the discs or if I should stick blank labels on 'em and write on that?

Besides, now that he's got two Living Dolls he's probably too busy, if you know what I mean...

I really like Brown Sugar and at least kinda like Am I Blue and think Joe adapts himself well to both situations, like a sideman oughta! In fact I may actually prefer his sideman work to his leader dates in this time period. The Real McCoy and Basra come immediately to mind in this connection. And I think I know what the Joe detractors in that other thread were talking 'bout and sorta agree up to a point, but I still concur with the point of this thread that Joe was remarkably consistant (even while being flexible for the sake of situation) in da '60s...

Thsi is a fine album, but I still think it's the least interesting of Tee-Nah's leader dates, largely because it's the most generically Blue Note. (If Alfred had chosen to spell Harold Floyd Brook's nickname phonetically, would it have helped his career?) Not that that's a bad thing, it's just that the other three show a more distinctive musical personality at work. This is good, v. good even, but the other three are GREAT!

I saw Dewey with Keith J's "American Quartet" and thought he played wonderfully. None of the many recordings comes close. Failure to capture his sound is part of it (as it is for many horn players, see Steve Lacy) but not all of it.

On the last one (my first) I guess I was embarrassed that I only recognized two tunes and no performers. Still I intended to post more than my one paltry comment but got distracted at/by work. I'll try to do better. Oh NOW you say participate at all...

Solomon Burke also did "Maggie's Farm", originally as a non-album B-side for Atlantic in the '60s but it's more recently shown up on various compilations. Besides Jimi, my favorite Dylan coverors are the Band, who completely understand what the're doing since they co-wrote some and worked with the man himself, and the Hollies who understood none of it so they just played and sang it as best they could. Oh, and Elvis P. also did a pretty mean "Don't Think Twice" but my understanding is that Dylan shouldn't [can't believe I left the "n't" out!] really take full credit for that one.

"Hold On, I'm Coming" is also on the CD of Love Bug as a bonus cut, but as far as I know "My Cherie Amour" remains "rejected" and therfore unissued, as indicated above.

OK, emboldened by this thread, among other things, I finally burned my first CDR the other day using Music Match. (All the as played versions of "Go Ahead John" from the complete Jack Johnson box plus the final mix from Big Fun) It plays fine but doing it was incredibly slow, even if you don't count the time I spent reading the help screens and the fact that it did it twice, once in Test mode and them again for real. I noticed that Real Player keep butting in so I gave it a try and it was at least quicker and I was able to correct the fact that Music Match had reordered the "Playlist" on its own so "Go Ahead John 1A" came after "Go Ahead John !" (which I'd actually typoed as "Go Ahead John!"). As I understand it these are both compressed, i.e. not as good as/not exact copies of the originals. Can I make direct digital copies with either of these softwares, or with Roxio____ which I also have (I think my wife downloaded that )? Or should I bite the bullit and get something else? I'm not trying to make professional level stuff here, just car copies for my own amusement and, of course the Organissimo Blindfold Test when it's my turn. Thanks for any/all input...

i remember going to the museum in Buffalo when I was v. young to see WEyeth and Calder. Skating close by as I recall. I've also enjoyed the D'Orsay and Orangier (sp?, floor to ceiling Monet water lillies) in Paris. Remington and Russell (yee-haw!) here in Portland. Group of Seven (8, 9, whatever, eh?) in Vancouver, BC. A great exhibit of impressionism owned by various midwest museums in Mpls (not the Walker, the other one). And, of course, Joni at the Mendal in Saskatoon and various First Nations Artists in North Battleford. So I guess my point is, by all means see The Great Museums of The World when and if you get the chance, but great artistic experiences can be had (almost?) anywhere, including your nearest music listening device...