Rooster_Ties

Can you share a list of those sessions / or the cd sources you used (presuming you sourced them from several different CD’s, I’m glad to sort out which sub-parts of each cd includes both / or just the track-listing? (Whichever is simplest for you — I’m glad to do a little legwork to expand whatever you can provide to get to the total picture.) I’d love to try and recreate that same homemade compilation cd, as you did.

A couple weeks ago I just found (and bought) a nice used copy of this very 2cd set, the one with all the alternates. The discs clock in at 73:20 and 70:37. Other than that the alternates are sequenced right after each other on the 2cd set (not at the end of each ‘album’) — I haven’t a complaint in the world about the 2cd set, which I’d been looking for a good copy of for several years. (And I kept seeing a battered, overpriced one at Euclid Records in STL that I was tired of always wishing was cheaper, and in better condition). So I was thrilled to find a minty one here in Pittsburgh for a couple bucks less too.

(Take 4)

My wife and I saw Inception last night — for the very FIRST time for either of us. And both of us knew next to NOTHING about it going in — other than over a decade ago I’d seen just a little footage (possibly just the trailer) of the skyline of one or more cities distorting and being ‘folded’ (and that’s it). I’d even forgotten all traces of who was in it, that Leonardo DiCaprio was the star — and I’m pretty sure I never even knew Joseph Leonard Gordon-Levitt was in it too (JLG being a favorite of mine, at least in the handful of other things I’d seen him in before). AND, we saw it on the single BIGGEST screen in all of Pittsburgh — the 71x39 foot IMAX-style theatre at the Kamin Science Center (down near the stadiums) — and we got there way early, and got perfect seats dead center, with hyper-raked ‘vertical’ seating that allowed us to be in a row literally half as high up as the vertical center of the screen too — so dead-center in every way. I’m not sure if I’ve had a more riveting and exciting moviegoing experience in my entire life (hyperbolic as that sounds). And on top of maybe the most top-notch way to see a movie — the actual movie was an delight too… a wild, wild, wild story and narrative — and an insane premise, that was incredibly exciting to try and follow — and a premise that (by its very nature) allowed for a HUGE amount of (very necessary) suspension of disbelief. And yet, any/all of the little visual details that might have otherwise had me handwringing at every turn — the PREMISE meant that none of that stuff had to actually be ‘believable’ per se. Anyway, it all made for an exciting evening — and I felt both literally high on adrenaline for a couple hours after, but then the movie itself also tickled parts of my brain that often don’t get agitated that much (in a good way!!) but maybe 3-4x a decade. Truly epic, incredible storytelling, and a damn good film too (incredible cinematography!) that really stretches one’s own imagination (or certainly did mine). I had quite vivid dreams last night — with no specific narrative details (at least not that I could remember) — but I definitely remember dreaming of wild, crazy cityscapes in one way or another. Quite a psychedelic experience overall, between the film itself, and the optimal viewing venue — and my nearly “altered state” afterwards, induced solely by seeing the film that way (I think the last alcohol I had was maybe 1 drink 2-3 weeks ago, and I don’t even do nicotine, let alone anything else, and never have). Highly recommended!!

It has certainly been done that way in some circles… …“and then some!!” — even including live performances not known to have been recorded, or certainly not confirmed to have been)… …and much appreciated by myself and others! https://jazzdiscography.com/Artists/Henderson/index.php > This ongoing project has outgrown the standard "discography" label. What this work represents - as accurately as possible - are the documented live performances (recorded and not recorded) of tenor saxophonist Joe Henderson. Exhaustive research of hundreds of newspaper articles, jazz magazines, journals, websites, and interviews has led to the creation of this larger "Gig-ography." Henderson's recorded career spanned from 1963-1998. https://jazzdiscography.com/Artists/Henderson/JoeHenderson.php

I might be pretty tempted to get this if it was on CD — but I don’t do new vinyl (and I buy old vinyl only sporadically).

Yeah, no new vinyl for me either (never have, not gonna start)… …and least of all if there’s a subscription involved, or membership fee, or some ‘club’ nonsense.

I think there was one (just one) previously unreleased studio track on the Milestone box: “In The Beginning, There Was Africa…” (from the Canyon Lady sessions). But other than that — no other extra material (live, or studio) that wasn’t previously on all of the original albums.

First track in full. Hot damn!!

What’s your take on EOTH? I haven’t listened to it much in years — but early, early on in my jazz listening (circa 1991-92, because I can remember which apartment I was living in at the time, back in college)… Early on in my first 2 years of jazz listening, I somehow stumbled on a copy of EOTH (probably because my uncle had talked it up to me as being a wild ride). I had NO idea what to make of it, but I listened to it quite a bit off an on for a couple years — and much of it wormed its way into my head. I maybe drag it out twice a decade now, but it always takes me back to that time (and place). The one time I heard Carla live in DC not too long before her passing, iirc, I was lucky enough to have her sign my copy of the EOTH cd booklet. I’ve heard maybe a half-dozen other Bley albums over the years, and whole I’ve always enjoyed them — I never found them engaging enough (at least for me) to really make be want to go even further into her catalog — but I’ve always had a lot of respect for her.

Ding, ding, ding!! — Eurasia is my favorite too, and the one I’d kinda hoped someone would nominate as a possible ‘critical’ favorite (in the absence of anyTime Out). I think It hangs together (as an album experience) the best of any Brubeck album I know. It’s not unknown, but ought to be better known.

Here I am thinking so far you’re all wrong, because nobody’s suggested my favorite Brubeck album yet. But I guess I can give it another day or two before I mention it, to give you all a fair chance to get it ‘right’.

Maybe it’s the same album — or maybe it’s not. Pretend Brubeck NEVER recorded any of Time Out… Which album of his would the PUBLIC best remember?? — or would he be “best remembered for” — in terms of collective popular public opinion over the last 40-50 years (not just what people “think today”). AND… Which Brubeck album might garner the most CRITICAL acclaim over the last 40-50 years? Hard to exactly suss out the difference between hypothetical ‘public’ (popular) opinion and ‘critical’ opinion in a “what if?” thought-experiment like this — but I didn’t want to necessarily assume that the same album would be picked for both questions. I’ll also preface the conversation to say that I never(!) owned any sort of copy of Time Out until just about 5 years ago, when I was well into my early 50’s — and prior to that, I only owned one or two other Brubeck albums that I picked up in my late 40’s.

No frills is putting it mildly. No personnel listed, and not a single word of liner notes. Booklet isn’t even a folded over sheet — it’s just one thin (square) piece of paper with a repro of the cover on one side. I guess I should be thankful the song titles and writing credits are on the back. Oh, and it’s a CDR too. Hell of a good album, though.

Now HERE’S a hell of a “with strings” album, crikey, from 25 years ago… Greg Osby’s Symbols of Light (A Solution) (Blue Note, 2001) My favorite track from it was penned by Jason Moran (in Osby’s band for several years, on this album too, and they were frequent collaborators)… …Moran’s track being “Replay In Kind”