wesbed

Maybe we should meet at Dan's house? Errr... it's on the beach?

I was surprised, too, when I learned of this information. I've purchased the last few Mosaics before they went OOP. The Fuller, Shank, Mitchell, New Orleans Jazz, and T/K/M. If I remember correctly, I don't believe any of them reached their limit. I'd expect certain sets, such as the Fuller and Mitchell, to have sold all the copies. It's not like these guys were exactly unknowns. I'm still surprised the Mobley hasn't gone OOP due to it selling all the available copies. Of course, I'm immersed in the world of jazz music and Hank seems much more important to me than he does to the general public. I mean, who wouldn't want this music? I'm thinking, lately, that I, in fact, won't be surprised when I learn that the Mobley box didn't sell-out, rather, expired.

Yeah. I thought I'd make an attempt at reviving this thread. To get people talking about it again. I have a friend who is into the internet gaming thing. He's met with the members of his board a couple of times. He says it's always well worth the time and money spent to do so. It would be fun to meet, if possible, and focus it around an Organissimo show.

I was away from the Board for a while. Did this poll ever reach a conclusion? Just wondering...

I listen to lots of music (mostly lots of jazz music). I have an ear for listening, enjoying, and appreciating the music. I know (at least, I think I know) when I hear styles that sound different... different in timing, phrasing, style of playing. I knew it when I heard Monk's playing, where it sounds like he's playing 'wrong' or 'stretched' notes, yet the notes are still very acceptable. I knew it when I noticed I could not tap my foot to Brubeck's Unsquare Dance. I knew it when I heard Coltrane and Sander's squealing horns on Ascension. I knew these were things that were different. Yet, I'm a musical illiterate. I don't play an instrument and I don't read music. I understand only the finished product, how it sounds, how it makes me feel, and what other's opinions of the music are. I know what 3/4 & 4/4 timing are, but my inadequate knowledge ends there. When I listen to the Tristano/Konitz/Marsh Mosaic, I hear something different about Tristano's playing. Something intense, forceful, and directed. Yet, still jazzy. The box groups Konitz and Marsh with Tristano. On the first page of the Mosaic booklet, it says, "It will be the first and perhaps most important task of these notes to describe just what Tristano, Konitz and Marsh were up to musically..." I've not read all the notes in the Mosaic booklet although I've enjoyed what I've read so far (thank you, Mr. Kart). I've not listened to all the music but I've heard bits and pieces of the entire set. Besides making very good music, what were Tristano, Konitz and Marsh up to musically? The liner notes make the point that something different is taking place with this music. I can hear the forceful intensity of Tristano's piano. But, what were they up to? I don't believe my knowledge of music is acute enough to fully appreciate the liner notes. Maybe somebody can offer a more simplistic explanation of the intent of Tristano, Konitz and Marsh? Presented in terms that even a musical illiterate can understand?

Noj: I believe your post is very well-written and I agree with all of it. You are so correct about Hootie and Creed and all the other names you listed. And, I can hardly even type his name, Kenny Chesney. I saw the new Chesney CD on display at Circuit City and had to turn my head. Was this thing intended to sell music or just pictures of pretty-boy Kenny? Bleck!!! I'm the culprit who started the Sabbath/Floyd discussion. However, you are very right in saying that Sabbath and Floyd should not be included with the other sonic road apples you listed. Given a choice of Sabbath/Floyd versus Hootie/Smashmouth/Chesney, I'd have to pick Sabbath/Floyd every single time.

Bwaaaa haaaaa haaaaaaaaaaa....

This is a product you can actually buy. I thought it was funny. >Magic Cone homepage< >Magic Cone demonstration< Warning: may not be workplace appropriate b3-er: I laughed out loud when I saw this advertisement. I posted this with no intention of it being 'dirty.' If you feel it's not appropriate on the board, I expect that you'll remove it. My comment, here, is by no means a jab at you or your management of the board. I genuinely expect you to remove this post if it seems offensive. Sometimes, things are not offensive to me when they might be to others. I found this product to be quite humorous.

The McMaster/RVG debate has raged for months/years. I enjoy intelligent discussion & opinions regarding the efforts of both. It's interesting and educational to learn of the nuances of each. I appreciate having the various Blue Note titles available in a remastered format. I feel guilty to say that any of the re-releases are 'bad.' I look forward to each and every one and plan to keep all the titles I’ve acquired. I do notice who remastered which title, before and after I purchase said title. The remasterer is part of 'the package,' an inherent part of the release. The remastering engineer leaves his fingerprint all over the recording. Not to say that one remasterer is better than another, but each has his own way of doing things, and it gives the listener something to expect or feel familiar with before deciding to make the music purchase. Van Gelder and McMaster have provided me with hours of reading, writing, and listening pleasure due to the differences and similarities with their work. I'd not avoid making the purchase of a given re-release due to the remastering engineer listed. However, I was pushed over the edge to purchase the New Orleans Jazz Mosaic due to Malcolm Addey's name being a part of 'the package.' I asked myself, knowing that Mosaic AND Addey were both involved, how bad could the set be? I was not disappointed. Morganized: Thanks for the positive feedback regarding my McMaster comments earlier in this thread. I try to keep an open mind, too, and not be juvenile or ignorant (as much as I can) regarding the McMaster versus RVG discussion. I feel somewhat conscience-stricken to 'steal' this Dizzy Reece Select thread to turn into yet another McMaster/RVG debate. While I do enjoy writing about and reading other's posts regarding McMaster/RVG/Addey, I only wish I had the Dizzy Reece Select at hand to make comments about the set (or comments about McMaster's work on the set).

I go with whichever title 'talks' to me first. When I purchased my latest bunch of the latest batch of RVGs, I played Goin' West first. I don't know why, it's just the one I chose. It was, for me, a good choice.

I've not yet heard the Liebman Select. I'm always curious to get opinions regarding the sound quality of a new release. How is the sound so-so? Is it distorted, over-powered, muffled, distant, electric, cloudy? Is the sound something that would make you change your decision to buy this set?

I've not yet heard the Reece Select so I don't know how this remastering job sounds. However, I do like McMaster's work. I used to not like him because I relied on the opinions of so many other McMaster detractors on various jazz boards. I don't mean the work that McMaster did on the 1980s Blue Note releases, rather, the work he's done recently, for Blue Note and Mosaic. For me, knowing that McMaster did the remaster on a given title, is a positive sign. To my ears, McMaster seems to leave the original sound 'true.' Sometimes I hear slight distortions/buzzing in McMaster's work. As if he chose to leave the 'old' sound there, not touch it, to avoid altering the original recording. His style leaves the original recording sounding crisp and natural. I like RVGs (and wouldn't give any of mine back!), but certain titles do sound a little 'electric' and over-powered. I'm not sure what other words to use to describe. Malcolm Addey continues to amaze. I have no complaints about anything Addey gets involved with. His work is clean, crisp, natural, modern, yet still lets the 'old' sound shine through on its own. I enjoy and appreciate the history of RVG and jazz. I like knowing that Van Gelder is involved with the remastering of his original recordings. However, I wouldn't mind if Blue Note and Mosaic replaced RVG and McMaster's names with Addey's name for future releases. Maybe start a Malcolm Addey series?

This is not an old set (circa 2002). I was planning to purchase this set only when it went to Last Chance status. Unfortunately, for me, I'm in a Stanely T mood right now. I know I'll wind up buying this set looooong before it goes to Last Chance.

It seems like, no matter how Duke performs in the regular season, Coach K. always has the team ready to go for the tournament. I can't say the same for the Wildcat's Coach (Mr. Lute Olson).

I live in Tucson and graduated from the University of Arizona. My team is the Arizona Wildcats. I'm darned tired of Duke.

Damn. Duke won?

Damn. I gotta get this Select. >Liebman Select< I used to believe Liebman was a flute player. After hearing the Liebman Select from the Mosaic site, I need this set. I now realize Liebman is not generally a flute player. I read, somewhere, that he did play flute at one time. I always buy the Mosaic Selects in numeric order. I have to purchase the Brookmeyer & Shank/Cooper first.

I remember, during the Miami Vice days, I saw a razor that was marketed toward those men who desired the Don Johnson un-shaven look. It was called The Miami Device.

I think you make a good point about the real Pink Floyd. I agree with you even though I didn't enjoy the Piper record. I do believe it was the real Floyd. Ozzy and I were never close. Anywhere he went, I went the other way. I can't say why but he always turned my stomach over. When I was in high school I was listening to Chuch Mangione, Spyro Gyra, and Steely Dan. A friend wanted me to hear his latest find, a Black Sabbath record. Errr... what? I didn't like it then and was suprised/depressed when Ozzy decided to make his own solo nonsense after Black Sabbath concluded.

Here's my mouthful: Ozzy Osbourne - to me, this guy was never any good... not even in the Black Sabbath days. My friend's copy of Diary of a Madman (record) melted in the back seat of my car, directly under the Arizona sun. I was thankful. Pink Floyd - recorded only two albums, to me, that were worth listening to, those being Dark Side of the Moon and Wish You Were Here. Otherwise, Pink Floyd gets my award for being one of the most over-rated bands of all time. I mean, The Wall? The prison door sound effect, waiting for the worms, the juvenile marching-band horns? Were they serious?

These strips are placed in the CD case, at random, by the manufacturer? Is this done at the request of certain major retailers? I buy most of my RVGs at Border's. Border's has the security sensors installed but only random CDs have the strips included. Not all CD retailers have the security sensors. With no security sensors, the security strips are of no value to said retailer.

My three vices are: - food - booze - jazz in no particular order. I wish 'work' was one, but it's not.

I like Shirley Scott's playing much more on Never Let Me Go than on Hustlin'. Note: All my Stanley Turrentine RVGs start with the same song.

Now, I'm wanting that stupid Turrentine Mosaic box.

Rah, rah!!! I want to see Alabama take it all since they knocked off the big-bad Stanford.