Allan Songer

I've known Larry for a long time--he's nuts, but also a REALLY great guy. He has taught me so much about Blue Note and it always ready to talk about it! He has also bought quite a few records from me over the years and has horse-traded a few as well. He gets an A+ from me . . .

Sun Ra "The Futuristic Sounds of Sun Ra" original deep-groove Savoy mono (MINT!!) Ronnie Boykins ESP Stereo original Albert Ayler "Love Cry" original Impulse Stereo

Transition labels fall off all the time (except for TRLP-1, Jazz in a Stable which has "normal" deep-groove labels). I think they glued them on in some sort of "mom and pop" operation and over the years they just fall off. I once owned a copy of "Jazz Advance" with NO labels!! I understand that! I was asking a question. . . . I was asking the question 'cause I sold a copy (missing the B side label) about 10 years ago. I got something like $1000 for it. The pressing was as close to mint as a Transition could be. I paid $250 or so. The vinyl is NM, the jacket is in two pieces but still nice and no booklet. I couldn't BELIEVE I got it that cheap. Seller was in New England and wasn't really into jazz at all--didn't know what he had and was shocked he got so much . . . Nice session. I got it on ebay about a year or so ago

Transition labels fall off all the time (except for TRLP-1, Jazz in a Stable which has "normal" deep-groove labels). I think they glued them on in some sort of "mom and pop" operation and over the years they just fall off. I once owned a copy of "Jazz Advance" with NO labels!! I understand that! I was asking a question. I got it on ebay about a year or so ago . . .

I bet it sounds better than the original one. And the labels are both there... My original sounds better than the Japanese Toshiba pressing from the 90's, but I am for sure going to check out the Classic reissue.

Transition labels fall off all the time (except for TRLP-1, Jazz in a Stable which has "normal" deep-groove labels). I think they glued them on in some sort of "mom and pop" operation and over the years they just fall off. I once owned a copy of "Jazz Advance" with NO labels!!

Roy freakin' McCURDY, y'all! The drummer I've heard live more than ANYONE else--a FIXTURE on the LA scene FOREVER. Dude can PLAY!!!

Most of us here probably started with "The Sermon," and that would be a good choice but I think one of the early BLue Note trio dates like "Goovin' at Smalls Paradise" or "The Incredible Jimmy Smith, vol. 3" might be better . . . I can't beleive someone on THIS board wouldn't have any Jimmy Smith . . . . .

Always loved the Frank Wright ESPs even though they has my wife running from the room screaming when I "crank" them up!! They only sound good to me LOUD--know what I mean? She just left for the store--think I'll pull one out and BLAST it!

I have every original Blue Note mono plus most of them in Stereo too. Plus the Mosaic AND the Japan-only LPs. And "His Majesty King Funk" on Verve, "Iron City" on Cobbelstone, "Easy" on Versaille, "Green Blues" on Muse. Needless to say, I like Grant Green A LOT!!

Sure you can--LISTEN to that right hand-- UNIQE in all of jazz. I love Horace Parlan--was just listening to a couple of Steeplechase LPs last night!

I went one one Grateful Dead concert--in Berkeley CA in '77 or '78. I went with about a dozen people who were all "Deadheads" and I knew almost NOTHING about the music. Most of the group dropped acid or ate mushrooms, but I didn't. When the band came out on stage they spent an ETERNITY messing around with their amps and instruments--no kidding, something like TEN MINUTES until Bob Weir stumbled up to the mic and said "all of my stuff works, but some of Jerry's stuff doesn't work yet." About five minutes later Garcia started chunking out some chords (his stuff was working by then) and then the band raggedly fell into the groove. At that moment someone next to me must have recognized the tune 'cuase she yelled out "Sugar Mag!" and the crowd went nuts. They played for about 3 hours-- 15 minutes of which was made up of the most pretentious bullshit percussion extravaganza I have ever witnessed. The music was OK I guess--I cetrainly didn't hate it, but I never once felt the need to go hear these guys again or to buy one of their records.

Your father's music has brought me MUCH joy over the last 30-odd years. When I said "detatched" I meant EXACTLY what you so elequently wrote about Warne's playing. He and Art Pepper had TOTALLY different approaches and yet they played so beautifully together the one time I heard them live and on the 1/2 of a record they made together some 50 years ago. I think I'll so spin "Music for Prancing" right now!

I was sitting in about the fifth row center at Disney Hall. It was an AMAZING concert. After so many years Ornette was STILL able to THRILL 1/3 of the audience, CONFUSE another third and UPSET the remaining third. I'll bet 300 people walked out!! --including the couple next to me who I overheard say something like "just a buch of damn noise." I was COMPLETELY enthralled from the first note. I would LOVE to hear this band on record!!!!

He gigs around LA on a REGULAR basis. I've heard him live dozens and dozens of times--dude can PLAY!!

Stan Getz "Award Winner" original Verve mono Lee Konitz "Inside Hi Fi" original Atlantic mono

I don't think so. Pepper and Marsh both seemed to be able to do EXACTLY as they pleased with their horns. They just had different approaches. Pepper was the most EMOTIONAL player I have ever heard--period. Marsh was detached, analytical by comparision. Love both players, by the way. Actually heard them together once--over 25 years ago now . . .

Here's the original US issue of the Helen Merrill/Teddy Wilson LP on ebay still sealed for eight bucks. I have the record--it's a good one: Helen Sings Teddy Swings

Who knows? All I can tell you is that I heard Warne live dozens of times in the 80's and he never EVER seemed messed up on coke while performing. Unlike Art Pepper late in his life who seemed to be on some sort of "speed" or coke just about every time I heard him play--maybe that was just Pepper's weird demeanor, but he was always jumpy and agitated--just like his solos on fast tunes. Warne always seems cool, calm and totally in control. Cocaine does effect different people in differet ways I suppose . . .

Here's one, but I have no idea if this is the original cover: Yep, that's the original cover. It was pressed originally with the "trumpeter" label but reissued with the same cover after the MGM takeover. You can get an original for about $60 on ebay in excellent condition if you're patient. The MGM copy can be had for about half of that.

Another hard bop gem. Is Duke Jordan the PERFECT piano for Tina Brooks or WHAT?

Any number of Art Pepper shows in and around LA in the '77'-81 period--but TWO stand out. The best? Maybe it was New Year's Eve show--must have been '79 or '80 at Dontes's. Warne Marsh dropped in for the 3rd set and it was really something special. Or maybe it was another show at Donte's the night before the Konitz/Pepper Atlas LP--the whole band from that record played for like 4 hours and there were only about 40 people there.

John Gilmore/Clifford Jordan Blue Note 1549--deep-groove flat-edge "New York 23" original. DAMN this is one smokin' record!!!

I'm happy too! "Other Voices Other Blues" is a nice record. $100 nice? Who knows--it's all about "collecting" now with these discs.

The Imperial pressing is better than the Score, but the Jazz West should rule. Unfortunately, my copy is in "beat minus" condition and I play the Imperial pressing when I listen. One day I might find an original, but with the Jazz West stuff now in the $500 and up range I kinda doubt it.