Rooster_Ties

Seem to be a raft of obits searching on his name under 'news' - all in German, I'm afraid. RIP.

I've been tempted to get that one for a little while now, and this might just push me towards actually getting it. Thx!

FWIW, I thought about 75% of the set was really great. Not all equally really great -- but there's really only about 3 of the 12 discs that I've spun considerably less than all the others. I wouldn't call it quite 'essential' -- but I'm really glad to took the plunge (which I'll admit having done in good measure because I'd bought so much from Mosaic over the years, and I wanted to show them some support. That said, there's probably a full half-dozen albums from this set that are just spectacular, and probably half of the rest are really nice too. FWIW, and YMMV.

Thanks!! Wonder what his dog's name was? Anyone know?

Can anyone else get to the page? I'm getting a Facebook login, but also a page not found error too.

Am I remembering right, that I used to buy copies off the newsstand(?) when I was in Chicago(!?) once or twice a year during my college years? Would've been the late 80s and early 90s. I used to get the Chicago reader too, but I could swear that I bought copies of the Village Voice somewhere back in my youth (more like my young-adulthood, really), and I was very rarely on the East Coast back then, only 2-3 times at most.

OK, I'm seeing now on my PC at work, that anyone looking on a PC has no idea what I was referring to. When MG's original post rendered/formatted *on my phone* (the mobile version of the Organissimo site), it was SUPER tall and skinny, like 2-4 words per line at most. (Imagine formatting a document in Word that was only 1.5 inches wide.) Barely covered 1/5th of the width of my phone screen. So, yes, while this sounded like a Tall Tail. It literally *LOOKED* like the tallest tail evar!! PS: Oh, and somehow I've also heard of the term "blower" meaning a phone (though it's been 30 years since I've last heard anyone ever say that). No idea at all where I've heard that from, but somewhere. Maybe it was slightly a regional slang thing? Or from my hepcat uncle, more than likely (the one I inherited 25 years of Downbeats from, circa 1965-90, a complete set). He always LOVED wordplay.

Sounds like a real tall tale to me.

I've had the same thing happen to me too. Sometimes I've clicked that option, and sometimes not -- entirely dependent on the kind of situation the OP mentioned. Thankfully they will hold everything they do have from your order, while you decide if the whole thing is a go/no-go.

I spun my copy of Randy's Mosaic Select over the weekend, and discovered the printed program from when I saw him perform a brief solo-piano concert with Q&A at the Jazz Museum in Kansas City back around 2010, iirc. I also (apparently) got Mr. Westin to autograph my copy of the Mosaic Select booklet as well (which I'd totally forgotten about). Seems I must have also talked to whomever it was that was interviewing him onstage (because I had a copy of his business card tucked into the program). Almost 9 years ago, but it seems like half a lifetime ago, actually (everything from my time back in Kansas City does). I have to confess that other than the Select, and the 1964 album African Cookbook (the one with Booker Ervin) -- those are the only Westin titles in my collection. I've borrowed a few things over the years, but I've been delinquent in picking up more that I have.

BTW, the cellist on Osby's Symbols of Light is Reggie Workman's daughter... https://www.discogs.com/artist/665565-Nioka-Workman http://niokakworkman.com/about

Greg Osby's Symbols of Light is one of THE finest examples of "with strings" albums I can think of. Vigorous string quartet charts, and the strings fully engage the rest of the band nearly as equals. IIRC, none of the individual strings take solos, but they're not merely a backing group either. Track #2: "Repay In Kind" (by Jason Moran) is one of the standout tracks (among many)...

If in the end, absolutely nobody else wants that Joe Henderson Milestone box, I could be temped to grab it - just to lay on someone (unknown) in the future. I've had one for going on 20 years, and it's one of my alltime favorite boxes. But I certainly don't need the one being sold here, so someone else please have at it.

I think(?) I have a copy of this at home on LP, but I'm not 100%, will have to look. I think it was one of a couple dozen albums I picked up frim my uncle's collection after he passed. Don't know that I've listen to it more than two or three times, and it's been several years at least.

I saw Clinton & P-Funk on an outdoor concert series back in Kansas City, back in late September of 1996, and it was quite a show. I think Maggot Brain was the only Clinton artifact I'd ever owned, though I did have a few Bootsy Collins records at various times. I don't remember any specifics about the night, but I've never seen so damn many people on the same stage (at the same time), save for the one time I was personally involved in a performance of Maher's 8th.

The Trainwreck wormed its way out, via Bob Belden (hard to get a deceased man in that much trouble -- though it's a crime that he's not around any more, so we could still have to keep that on the down-low). The other half of some Lee Morgan session -- I think it's the one from September 13, 1968 (tracks 7-9, off the CD of The Sixth Sense) -- which the one with Frank Mitchell on tenor -- I'm pretty sure that's the one by Lee that's also leaked. Few more, that I can't think of at the moment -- though none I'm fanatically interested in. The one I'd give my right arm to hear is that Jackie McLean date with Woody and Tyrone. I've heard the drummer is the reason it's never been issued (that Jackie hated it), and Michael Cuscuna emailed me back once 15-20 years ago -- that that Jackie/Woody/Tyrone date, that the tapes were lost (though to tell the truth, I think that may just be what he says about that one -- but who knows).

That'd happen with certain audiences today even, I recon. Not entire audiences, but if animated enough (both the growls, and the audience), I'm sure any number of folks could very well laugh audibly if 'provoked' in just such a way to as to try and garner that exact response. I'm practically never at concerts with much Ellington (or Basie, etc...), but the scenario I describe can't be all that hard to imagine even now, eh?

What of an arguably epic piece like Berg's Lyric Suite? - which I have two recordings of which couldn't be more different! Though I like the Alban Berg Quartet's verison best (because it has WAY more teeth) -- this second version casts the piece 'sounding' much more like a late romantic piece, albiet still thorny (harmonically, but no where nearly as thorny 'sonically'). You could put the second, way more "Romantic" one (Schoenberg Quartet) on at a dinner party, and people wouldn't be all freaked out (even the non-musically oriented ones could stand it). It's a little busy, but if you didn't crank the volume, it wouldn't scare anyone. But put the first, WAY more 'punchy' and in-your--face one (Alban Berg Quartet) on at a dinner party, and most folks would be be all "WTF is THAT???" and all dinner discussion would grind to a complete halt. A jazz saxophonist friend 20 years ago (Todd Wilkinson, from Kansas City, bandleader of Boko Maru, if that means anything to anyone) -- when he discovered I was getting into 'modern' string quartets, he told me to get Berg's Lyric Suite, and swore it would "fuck me up!!". He said get that, and all the late Beethoven quartets (which I did). So... This Alban Berg Quartet rendition below is way more of the "fuck you up!" variety (the whole thing is on YouTube as a playlist, if anyone wants to hear all of it). The Shoenberg Quartet version, though, will not fuck you up -- or at least not unless you're really paying closer attention to it. So here are the two versions I'm talking about. This one via YouTube (the one with the B&W photo of Berg) is by the Alban Berg Quartet, recorded in 1991-92 (released in 1994). But then there's this version, which sounds light-years different, and WAY more Romantic -- by the Schoenberg Quartet. (Dang it, I can't seem to find a YouTube upload of this version so folks can hear how different it is.) Anyway, here's the cover -- and it was recorded in 1985 (released in 1986) -- so the radical difference isn't having anything to do with being recorded in different eras.

Just seeing that these links (above) have disappeared from the Organissimo instance of this thread -- though the actual YouTube uploads are still out there. I sure as heck wish I could find this on CD. When last I looked (several years ago), there was only one very obscure CD edition, which (at the time) seemed impossible to track down. Anyway, here's the links again, part 1 (movements 1-2), and part 2 (movements 3-4)...

The recent mention of Warne in the Wayne Shorter New Yorker thread, reminds me that I'm woefully neglectful of knowing much of Warne's output. I *do* have All Music, of course (Chuck's most recent CD issue, with all the great bonus material) -- but I'm a little embarrassed to say, that's all I've got. Anyway, I thought I'd pop this thread up for some more discussion. Some Mosaics seem to be popping up on eBay for surprisingly reasonable prices over the last couple years, so maybe I need to keep an eye out for a copy of the Tristano/Konitz/Marsh box, I suppose. Or is there a good 1-2 disc alternative that I could spring for, that wouldn't set me back a whole ton? (BTW, I'm equally neglectful of having/knowing much Tristano or earlier Konitz either, I suppose should also confess -- though I've heard a smattering of more recent Konitz from the last 25 years, and even saw him live back in KC back in 2006, just that one time.) Anyway, it's really "Warne" advice I'm looking for - where else to begin, beyond All Music.

Yup, the Brahms is lovely -- and a definite exception to my otherwise low view of clarinet. But oddly enough, almost all of my absolute favorite Schoenberg works include a healthy dose of clarinet, specifically his three "mid 20's" opus-numbered 'wind-centric' chamber works... Serenade, Op. 24 - for clarinet, bass clarinet, mandolin(!), guitar, violin, viola, and cello - plus a bass vocalist (on one movement only) Wind Quintet, Op. 26 - for standard wind-quintet: flute, oboe, clarinet, horn, and bassoon Suite, Op. 29 - for sopranino clarinet in Eb, standard Bb clarinet, bass clarinet, vioin, viola, cello, and piano ...plus Webern's arrangement of Schoenberg's Chamber Symphony #1 (Op. 9) - for flute, clarinet, violin, cello, and piano THAT'S my desert-island list of Schoenberg works right there. I've never been able to get into his string quartets anywhere near as deeply as these wind-heavy chamber works (the list above). And how it is that they ALL have a substantial amount of clarinet -- and instrument I otherwise find pretty much a negative mostly -- is really a puzzle.

Very nice that they mentioned specifically how many orders they thought they needed to go/no-go with this set. Doesn't mean the calculus will always be the same for every set going forward, but I appreciate their transparency in divulging even this one specific detail.

I'm very interested in this detail as well.

FWIW, All Seeing Eye and especially Etc have felt like my quintessential Wayne albums. Though I realize neither one is going to get the attention any/all of his three 1964 dates for BN are nearly always going to garner. Etc in particular, seems like the/his ultimate synthesis of composition, and incredible playing. I don't reach for those 1964 Wayne dates nearly as often as Etc, and that's been the case for me for well over 15 (maybe even 20) years.

OMG, yes, yes, yes!!!! ALL my ultimate favorite trumpet-players are those that took a BIG influence from Trane. That Woody guy, and Tolliver especially!!