Rooster_Ties

I think that's right. I got the sale notice in my email, but there wasn't anything on the site about it. Had to go back to the email for the sale code, which you plug into your order at checkout. Code: HOLIDAY2018 Ends Dec 16 at Midnight.

Wish I could go! Wish I could have gone to the last one too, come to think of it.

PM just sent, realizing this is a pretty old thread (and a long shot any of this is still available).

I spun (span?) the LP again that I got in Raleigh (that I started this thread about), and I'm still finding it sort of fascinating. It's not a "great" album, but what is great about it is it's utter lack of clichéd playing. No turnarounds, and no changes that I've heard a 1,000 times in other contexts. It's like someone found a classical player in 1964 -- and had him listen to a bunch of Mal Waldron trio records from 1969-75 -- then bought him a few shots of bourbon for courage, and sat him down with a quality rhythm-section that could just "go with it". I said it before, but the utter LACK of conventional swing is what I find the most fascinating. I'll have to think about this, but I think this specific 1964 Gulda album "swings" LESS than Mal does/did circa 69-75. It's nowhere as 'all in' as Mal was, but I think that's also part of what I like abou this funny Gulda date (but which I've not heard in any of the other albums of his that I've sampled from YouTube). This one is a little more exploratory -- not more 'out' -- but more like he's just trying to feel around and see what's possible -- what works, and what doesn't. Especially on the one side-length tune. All of which redoubles my long held wish that Herbie Hancock had done a 'percussive' piano-trio album circa 1966-67, playing like he did on The All Seeing Eye, Some Other Stuff, and The Trainwreck. Granted, this Gulda album isn't that (and nowhere close) -- but they could have been distant cousins.

Anyone else have this yet? Easily one of the 10 best CD's I've bought in the last 5 years. Hard to fathom how little Hasaan's music has been covered/remade over the years. I did a deep dive a couple weeks ago with Google and primarily through Discogs, and I think there may be as few as 5(!) covers of Hasaan's tunes (other than this new tribute CD), over the 50+ years since The Legendary was first recorded. Don't sleep on this one, it's a stunner.

I don't know that I've ever seen this particular pic of Kenny with Eric Dolphy, which I'm quite liking!! (from the article)...

I first saw the film at the Kansas City Film Fest, in late '94 or spring of '95. One of something like 80 films and docs shown over 2 weeks. I'd just moved to KC less than a year before (from my college town of 30,000, with only 2 movie screens) -- so I bought an all-Fest pass for $120, and burned about 3-4 days of vacation -- and went to something like 20-25 films -- sometimes as many as 3 in the same day. Fond memories. I think I did some version of that for the first 3-4 years I was in KC.

Definitely! And I'll add that I found nearly all the previously-unreleased music (first and only available on this set), to be both revelatory, and facinsting. Nearly all of it (the unreleased stuff) is more percussive and arguably a little more 'progressive' -- and dare I even say almost 'out-leaning' a bit, but still with Denny's beautiful and controlled touch. An album of just the unreleased stuff from this set would be on my top-20 list of piano-trio records from that entire decade.

I own something like 12(?) legitimately released (non-bootleg) *live* Woody Shaw CD's (every last live Woody Shaw release that's ever been, far as I know) -- a few of which are among THE best live jazz items in my entire 3,000 CD collection... And THE very best (one), among the very best of all the greatest live Woody Shaw dates, is "Berliner Jazztage". If it were or had ever been available as a decent, single-disc domestic release that was reasonably priced, I'm certain I would have bought and given away 20 copies by now, as a sort of 'jazz calling card' mine [something I've done with a few other beloved titles over the years]. "Here, you should listen to this - and might love this phenomenon live album by Woody Shaw -- with an incredible soloing, damn fine arranging, a top-notch slightly expanded group, all playing some really wonderful tunes. It's nothing short of sublime, and it's yours to keep if you like it." Grinds my gears to this day that there has *never* been such a release of "Berliner Jazztage" that's EVER been available on CD. One of THE best live jazz albums EVER (imho), and who even knows about it?? - other than plenty of folks who are probably nearly all already Woody Shaw converts. Yeah, it bugs me too.

The Miles metal-spine boxes don't bother me nearly as much as the Bill Evans "Rusty" box -- which I finally gave up on entirely. Now THAT'S a box-set whose design (even absent the "rust" factor), always seemed absolutely bat-shit insane. Those individual CD sleeves, all attached at the corner with that one divot (if I'm remembering correctly), was about 10x worst than the Miles metal-spine boxes. I'm not in love with the Miles metal-spine boxes, but my issue with them is more the impossible-to-read text -- with the Complete In A Silent Way box especially (dark yellow text, on light yellow backgrounds -- and impossibly small text at that!!) -- but even that, I have NOT made any effort to replace. I *did* however buy individual Mosaic booklets for the LP-versions of a few of those sets (the Miles & Gil box, and (I think?) and the Plugged Nickel set too maybe? And maybe the 65-68 set too? - I can't remember). I think Mosaic sold the booklets alone for $15 a pop, and I always figured that seemed reasonable, especially when I was adding them to other orders (and not having to pay extra postage). I kind of wish I had Mosaic booklets for ALL the Miles metal-spine boxes, but given how often I've read the 3(?) I do have, maybe I really don't/didn't need any of them after all.

Looking them up just now... https://en.wikipedia.org/wiki/Dynaflex_(RCA ...I don't think I ever did. But I do sort of remember there being some SUPER-thin LP's at the AM "Moldy Oldies" station I worked at (on-air) back in college (around 1990). Mostly K-Tel records (iirc), which were as floppy as all get-out. Haven't thought about those in years. Almost 30-minutes of music per side too, iirc. And being various-artist LP's(!!), MANY a time jocks would put those on and let 'em play for a full 30-minutes, so they could go out and take a long smoke break (some of them smoking god knows what). If those were them, and were on Dynaflex, then I suppose I do remember them -- if not by name. Oh, and just found this clip...

What? I'm totally not catching your drift. Like not even a little.

Well, the thing about the Woody Shaw Muse set is that it replaced those god-awful 32Jazz reissues, with the black-soft-plastic cases (can't even call them jewel-boxes) -- with the adhesive covers, and god-awful new artwork. Yes, the original liners text was reproduced, but that's about all they had going for them. How many Euro public-domain reissues with fake (similar) artwork are frankly BETTER than those 32Jazz things (which made my skill crawl). The Woody Shaw Muse Mosaic was the *ONLY* Mosaic set I think I've ever(!) pre-ordered, and I did so without even really thinking about it -- so strong was my distaste for the 32Jazz versions (all of which I had) -- and cuz I love Woody Shaw so much, yeah. As far as other sets -- the only ones I've gone out of my way to try and replace with individual CD's have been the Andrew Hill big box, the Sam Rivers, and the Larry Young (but have haven't gotten rid of the Mosaic's yet, probably cuz I got Hill and Rivers to sign the booklets for them). No reason I really "had" to buy all those singles, other than my great and deep love of those particular artists. Ideally I'd prefer to be able to replace all my Mosaics with individual CD's of every album -- but that would be insanely cost-prohibitive -- so I've only done that with just those 3 Blue Note artists in particular. Oh, and the Don Cherry too (it felt silly to have a 2-CD Mosaic, honestly -- and Complete Communion being one of my personal top-20 Blue Note albums, I had to have the individual disc of just it, so why not grab the other two since they were all Conns and easy to get). But I've got 20-30 other Mosaic sets I could probably go way out of my way to replace with individual CD's -- but if I started down that road, where would I stop?? So I stopped with Hill, Rivers, Young (and Cherry) -- since they were all in a category by themselves (in my hierarchy of favorite artists). That said, there have a been a handful of particular albums/sessions that I've bought singles of (even though I have that same material as part of a bigger Mosaic), simply because the session is so near and dear to my heart (and especially if the session was split across 2 CD's on the Mosaic). John Patton's That Certain Feeling is one, and that one Bobby Hutcherson date with Woody Shaw (from the Hutcherson Select) is another -- also all the Jackie McLean dates with Charles Tolliver (from the McLean Mosaic) I have as singles. Basically there has to be some fairly specific 'special' reason for me to buy a duplicate of a title, otherwise where does it ever end?? (I do also own a couple single discs of favorites from the Joe Henderson Milestones box too, under the same logic). But that's really about it. I think(?) I only less than 20 (maybe less than 15?) individual CD's of material that I have duplicated as part of a bigger box -- which doesn't seem too insane. PS: I'm pretty proud of the fact that I *haven't* bought ANY individual Miles Davis titles on CD (since I have all the metal-spine boxes) -- other than Kind of Blue (pretty hard not to own a single of that one). Not counting the expanded Bitches Brew in that, since it came with extra DVD's of live stuff (the only reason I bought it). But yeah, other than Kind of Blue, I don't have ANY unnecessary duplicated Miles in my collection.

And this clip of Wallace seems to also include the same (young) tenor-player...

Oh, and he and his band were loud as fuck the last couple times I saw them. Definitely take earplugs. Holy shit, were they loud. Almost painfully so.

Is 13 years too soon to re-bump an old thread?

I've seen Wallace a number of times, but not in the last 10 years. He may have even been among one of the first 5-10 jazz shows I ever saw (back around 1989/90, first in St. Louis a couple times -- then maybe twice in Kansas City around 1994-96). Back then, he was always great - though I seem to remember liking his brother Antoine Roney (on tenor) even better a few of those times. The very BEST night I ever heard him, though, was in 1996, in a small club in Kansas City - and his brother was sick, so it was just a quartet. And to my ears back then, it all sounded like a night of "Bitches Brew"-type material, but all acoustic. Left a VERY strong impression on me at the time (though part of that was that I was all hopped up on love chemicals (oxytocin and likely endorphins too), having just met my future wife, and we'd only been dating about 4 weeks at that point). It's a really long story, but she was with me at that Roney show (without Antoine), and it was one of the best shows I've ever seen, bar none. That said, I've also seen Roney 2-3 times between 2000-2010, and he's always been good, but never really "great". WHAT he plays is always spot-on, but it seems like he's never listening and responding in the moment to what's going on in/from/with the rest of the band. In fact, one time I saw him, I don't think ANYONE in the band was listening to each other. It all fit together metronomically, but there was absolutely no give-and-take to any of it. Except, oddly enough, the piano player (Gary Versace, iirc?), who played and was comping incredibly well and interestingly. He was clearly listening to EVERYTHING, the entire night. I talked to him after the show and paid my compliments, and it turns out Gary (if it was him), was just subbing that night for the first time with Wallace, and he was reading everything (though he'd had the charts for a week or So). Said he was just trying to keep his head above water, all night. Roney and everyone else in the band all played like monsters, but they were all like independent monsters, all in their own worlds. So I listened to Versace the entire night, cuz THAT'S where the magic was on that bandstand in that band in that moment. Anyway, Roney's always good, and occasionally great -- but I wouldn't necessarily expect any great revelatory interplay in/between/among the group. I think the 2nd time I saw him 10-ish years ago (this time without Versace), it was the same thing. Killer playing, but everyone just plowed through everything, and there wasn't any space to breath. Which is all funny, because he's nearly always a little more interesting on record than I'm expecting. Maybe what he does is better suited playing in a studio? I really don't know. No idea who he's playing with these days.

Well, as long as you asked... Jim Hendrix was my first really BIG musical obsession in High School, starting around my Sophomore year. I went through a minor Beatles phase late in Junior High (barely 18 months), and then about a year of random exploring, mostly just listening to classic-rock radio (back when the playlists were 10x as deep/long/wide). By my senior year of High School, including bootlegs, I had over 50(!) Jimi Hendrix albums -- so in a great many respects, THAT was my gateway. Or it certainly prepped me for Electric Miles Davis, that's for damn sure. So there was that too.

Eric Dolphy on alto, and Ron Carter on cello -- what's more to like?

I'm not sure they're enough "thinner" that I've noticed any different by weight -- but considering how tightly the interior "teeth" hold discs on some of their recent multi-disc sets ("interior" meaning where discs #2 & #3 are held, in a 4-disc "fat-boy" jewel-box) -- I definitely *HAVE* notices how easily the CD's bend (or maybe "flex" is the better term). Before I broke off half the spokes (teeth) of those "interior" holders, I was always terrified I was going to snap one or more of the discs clean in half!! So, yeah, I've noticed that Mosaic's more recent CD's seem to bend (flex) a bit more easily -- which would be consistent with being thinner.

The variety of the Jordan Strata East box is really wonderful. All of the inside stuff is just a little outside (or at least funny). And most of the more outside stuff is really coherent (don't know how else to say it). Not quite as solid as something like Complete Communion, but certainly in the vicinity. I'd just bought In The World as very pricy Japanese import CD, when the box was first announced -- but I've got no regrets, and am just thankful for all the great music on the rest of the box that I didn't yet have (nor had ever heard, or even heard OF before). If anybody missed out on the big box, and needs my Japanese mini-LP of In The World, lemme know. My extra copy needs a good home!

I had two gateways really. The first 4 jazz albums I had and heard with any degree of repetition, were two C90 cassette dubs a friend of mine made for me the summer before my Junior year of college -- and I must have played those tapes to death on auto-repeat for about 2 months straight, until I had to get more. Tape #1: Kind of Blue / Nefertiti + "Prince of Darkness" (from Sorcerer) Tape #2: Power To The People / Mode For Joe + "Gary's Notebook" (from Sidewinder) But I did have some key earlier exposure... 1) I took an Intro to Jazz 101 class at the end of my Sophomore year in college (actually it was a 200-level class). I was intrigued by it all, but I wasn't yet a 'convert'. My final project was on Sun Ra, but honestly, that was as much because my uncle had told me a number of great stories about Sun Ra off and on over the years, and both of Ra's A&M dates had just come out on CD (and were conveniently borrowable from the college radio station I were I was a DJ), that I thought that would be fun and different. Don't know how much I really "got" the music, but both those A&M CD's (Blue Delight and Purple Night) did make some sort of impression. Plus my uncle loaned me about 12 other Sun Ra LP's, which I listened to (though really didn't connect with as much). But Ra's story was out of this world, and made for an easy final project. 2) I mentioned my uncle (who was head of the art department at the college I went to, Knox College in Galesburg, IL - pop 30,000). For YEARS I'd heard him talking about jazz, and he played lots of stuff for me every year at Christmas or Thanksgiving. Don't know how much I really picked up, but I certainly got the impression that jazz was something really cool and special, and I got a sense of the whole scene and lineage of the music (or that there was one, even if I didn't "know" it yet). My uncle was a huge influence on a lot of my interests, even though I only saw him a couple times a year. He sadly passed about 5 years ago, after 6-8 years of ever worsening dementia. But even in his last several years, he like to talk about jazz a lot (if not often very coherently). He also played trumpet all through his adult life -- not especially well, but he worked a lot at it, and wasn't half-bad sometimes. I have a nice handful of his LP's and some 78's -- and also his entire Downbeat collection (complete), from 1965-1990 -- which I'll always treasure. I should also mention that I listened to a *LOT* of Frank Zappa my Freshman year -- and that HAD to have had a big influence too, in opening my ears to jazz (even if it smelled funny). Before that, I only knew 4-5 tracks from the radio ("Watch out where the huskies go..." - and god only knows what else), but I had a suitemate my Freshman year who was somewhat into Zappa when he got there, and then he started borrowing every Zappa album he could find (from the college radio station), and bringing them home and playing them a lot -- and I dubbed a few of them.

My dad will be 92 in May, and (thankfully) it's only his right ear that he has lots of trouble hearing with. He was fitted with a medium-grade hearing aid through an audiologist, but he says it really doesn't help much when he really needs it most (in crowded rooms, or noisy environments). He says it basically amplifies the noise as much or more than what he's actually trying to hear. As a result, I think he rarely wears it. Unfortunately I live 1,000 miles away, and haven't been able to have much luck engaging with him about it (he's getting more stubborn as he gets older). I'd probably force the issue more if I lived a lot closer, and saw him more than about 5-6 times a year -- and I may yet have to force the issue. But for now he's mostly getting along pretty OK with his one good ear, which (thank heaven) really does still have pretty decent hearing for his age. (He's gone into the audiologist for follow-ups about 4 times, but what I'm hearing secondhand from him is that no matter what they say or do, it just doesn't seem to work. But he won't be very assertive about it when he meets with the audiologist, and I have no idea if he's really got the hang of what it is they're trying to tell him to do. He has some other recent health issues that are not serious yet, but developing and potentially troubling - and I'm trying to focus on all that for the moment, which is about as much as I can do remotely from 1,000 miles away, without any other close family in his neck of the woods -- outside of St. Louis.)

I think really "low-end" hearing aids may not be able to discriminate based on frequency, but (I think?) even "medium-end" hearing aids will definitely adjust to specific frequency ranges (and that technology has been widely available for 30 years or more. I'm forgetting the details, but my mother taught audiology at the masters-degree level, and I'm almost positive this was the case back even before she retired in the late 90's (and sadly passed away about 15 years ago - or else I'd be able to confirm with her personally).

CD or LP? Prices aren't much better on Discogs, especially considering shipping costs... https://www.discogs.com/sell/list?sort=price%2Casc&master_id=284374&ev=mb