Rooster_Ties

I've never gotten bitten hard by the Coltrane bug (though I have the utmost respect for him). I've said it before, but my Joe Henderson collection is 3x as big as everything I have by or with Trane (and that's including everything I have by Miles w/ Trane). But *Billy Harper* is maybe my favorite living tenor player, and he comes all out of mid-to-late era Trane (inspirationally). And then one of my other favorite tenorists, Gary Thomas, claims Harper as probably his biggest inspiration. Can't quite figure out how/why I've never connected super-deep with Trane either. I'm into everything Ornette ever did, and Tyrone Washington, and quite a lot of Sun Ra (though not his most extreme stuff). But oddly enough, it's Trane's sheets-of-sound approach for Prestige I like best (even if the actual material isn't as moving as more modal stuff later) -- which is doubly odd, because I have almost zero interest in Miles during those Prestige years. Which is maybe to say that my preferred Trane might have been if he'd done his sheets-of-sound stuff more during his Atlantic years. But thank goodness Trane tried so many different things, and was relatively commercially successful with so many of them -- allowing his followers to borrow and adapt Trane's language in their own ways.

OMG, I've got a burn of this quartet show from Bremen 1983, and it's *damn* near as good as the Onkel PO material. Woody and the band play their assess off, and the copy I've had for 10-15 years sounds spectacular too. Seriously, Bremen '83 is like my *dream* Woody Shaw release. I'm just now (moments ago) seeing for the first time that it's being issued, and I'm kind of beside myself delighted about it. Whatever they wanna to charge, it'll be worth every penny. It's a double-CD (and the burn I have is the same). About 50-55 min per disc, iirc. Fantastic news!!!! Edit: the burns I have place the last tune on disc #1 (as they're apparently gonna release it), as the frist tune on disc #2 instead. In any case, it's like 110 min of material, iirc. And utterly divine. You all are gonna love this new quartet date from Bremen '83. It's like my desert island Woody Shaw release.

Amen!! That Onkel PO disc is just stunning, in every which way you can imagine. I normally don't focus or obsess about sound quality, but it has to be one of the very best (sounding) live discs I've ever heard, by any artist, any decade. And the entire band is totally on fire too. 🔥 ‼️

Hi all. I'm looking for this particular Toshiko Akiyoshi compilation CD (single disc), and because the title seems to simply be "1961" -- I'm having a devil of a time finding listings for it on Discogs, or on very many of the usual places I search for used stuff on-line. The only copies I can seem to find are a little too rich for my blood (about $45 from Japan). Can anyone find any less expensive options? Here's some references to the disc that I have found... https://www.amazon.com/1961-Toshiko-Akiyoshi/dp/B0000561BI/ref=sr_1_1?ie=UTF8&qid=1534536381&sr=8-1&keywords=Toshiko+Akiyoshi+1961&dpID=21C1uCHGiHL&preST=_QL70_&dpSrc=srch https://en.wikipedia.org/wiki/1961_%E2%80%93_Toshiko_Akiyoshi https://www.allmusic.com/album/1961-mw0001026003 I'd love if anyone has any leads, thank you!!!

I hadn't considered the possibility of all that reverb not being a natural occurrence simply because of the nature of the venue. It's not oppressive, but it is certainly omnipresent.

Is this release, plus the Left Bank stuff with Wynton Kelly from '67(?) -- are these the only 'live' or non-BN Hank specifically from the 60's yet issued commercially?

Easily the most memorable Grammy performance I can think of, or any award show for that matter.

I've never trusted iTunes a whole lot, but I have used it to port things to my iPhone (and previously to an iPod mini). But the only way I could find to manage having different music for my phone, vs. my wife's phone -- was to have two different instances of iTunes running under our separate accounts/logins (meaning within windows). But then it became a pain when we were both working on things, because half the documents would be saved under her login, and half under mine. My phone (and old iPhone 5) would only hold about 20-30 albums at most, so I finally got tired of having to delete things out of iTunes, in order to upload new albums. I'm sure there was some better way to do it, but iTunes would only synch everything between it and my phone, so I kept having to delete things. We don't have a ton of stuff on our shared laptop, so we normally just back things up on a couple different thumb drives now and then. Not a very good system, I'll admit, but I do try and make two copies, in case one goes belly up. We don't have pictures, or tons of documents, nothing more than maybe 20-30 documents that really matter all that much on our laptop. And anything that's really important, we make sure we print hardcopies for our files. Something like iTunes might be well and good, but a couple times I upgraded, it didn't go well, and I had to reinstall it from scratch. But it wasn't a big deal, since I was deleting and uploading CD's to it anyway. It finally got to be too much of a hassle, and my iPhone has nearly run out of memory anyway (really needing to upgrade), so I really haven't used iTunes in about 2 years.

Any particular download or couple hundred downloads might be easy enough to preserve with some redundant backups. But the idea that over the next 10 years, let's say (or what could have been the last 10 years), that it's going to be a piece of cake to maintain 500+ hours (5,000+ files) of recordings -- over the course of 20 years, seems pretty unlikely to me. Personally speaking, I've never had a computer last more than about 5 years, and the upgrade path hasn't always been smooth (sometimes yes, sometimes no). Certainly someone more dedicated than I am to backing everything up on redundant hard drives could surely manage. But over time, sound-file formats have changed, presumably requiring some sort of data conversion. Mp3 files, or FLAC, or whatever that format that iTunes insists on using. And keeping all the individual tracks associated with other correctly (into albums), and otherwise organized. Other than a few things I've burned off onto individual CDR's, I can't think of anything I've downloaded that I've ever kept reliable access to for more than about 5 years or so. But who wants to have a collection of 500 to 1,000 CDR's, none of which have identifiable spines, or album-cover art that one can *remember*, as a way to help (mentally) keep track of what's what. If half of my 3,500 CD collection had instead been downloads, I'd barely listen to or have any sort of idea what any of the downloaded portion was (in terms of remembering what all it is). Mabe it's just me, but I've never been able to manage a (sizable) collection in any form other than actual physical media. Anything more than a few hundred items, and I'd loose track of everything, if it were all virtual. Again, to say nothing of trying to make sure none of it gets corrupt over 2-3 decades. Just my 2 cents.

Clark, 15 years later (in 1980)... And again, around 1985 sounds like...

I still at least like having the option of buggy whips (CD's), I'm afraid. And I'm loath to do downloads. Is there really ANY chance in hell that I'm gonna still have some download (that still functions) in 20 years? Or how about 30 years? Sure, it can be done. But if even half my music collection (about 3,000-3,500 CD's currently) was downloads -- and not physical media -- who the hell has the time to port that stuff around from hard-drive to hard-drive, upgrading every few years, ad infinitum. And, yeah, I know there are no guarantees with physical media either. CD's get scratches, and houses burn down. But I'll take my chances with physical media -- which as served me pretty darn well for the last 30 years, before I ever switch over to having tons of downloads (some or even many of which might disappear into the ether, in anywhere from 5-10 years). Or maybe I'll be screwed either way -- when there are no longer any functioning CD-players to be had, but I guess I'll cross that bridge when I get to it. Maybe Mosaic should (also) offer downloads. Fine by me if they (also) do, as long as they (also) still do CD's -- which, last time I checked, was still what the majority of their (admittedly dying -- aren't we all dying?) core clientele still listen on?

OK, I bit the bullet and got this on my last Dusty Groove order. It's certainly good, but the sound quality makes it seem like they were in a fairly cavernous venue. Also picked up "Vol 1" of the recent Shaw/Louis-Hayes/Junior-Cook "The Tour" release on HighNote -- which is also quite good. (I still need to get "Vol 2" of this same band, but I understand it's taken from quite a hodgepodge of different concerts, as opposed to "Vol 1" - which is all from the same date.) While I do like both of these -- I must say that I'm reminded that the also recent Woody Shaw Quintet "Vol 1 - At Onkel PO's Carnegie Hall Hamburg 1982" sounds un-frickin'-believable (and the band is on fire too). They're all good, but that Onkel PO's thing has to maybe be the very BEST live Woody Shaw document ever (in terms of sound quality). Highest recommendation on that one (Onkel PO's...)

I finally picked up a copy of this Mobley in Holland date, on my last Dusty Groove order -- and I'm quite liking it. The inclusion of guitar on the first 3 tracks adds some nice variety to the set, and I'm glad they sequenced it the way they did -- with the small-group sessions bookending the big band in the middle (and particularly with the horn + piano trio tracks at the end). I've only been through the whole thing once, but I was left wishing there was more material with big band -- not a criticism of the release, but just recognizing what a treat it is to hear Hank in a bigger context like that.

To clarify, I'm not in for this particular set (the Woody Herman 'Select' is all the Herman I own, save for my uncle's vinyl copy of The Ebony Concerto) -- but I'm all for the *concept* of them announcing sets that require a certain level of pre-sales in order for them to go forward with them. I mean, if the other option is Mosaic stopping doing sets all together, I'll take this model (over nothing), definitely. And I still think we should all call them to ask about how do we go about pre-ordering this great Bill Baron set we keep hearing about.

Exactly. This is Kickstarter, without Kickstarter taking a cut. Seems perfectly reasonable to me, and (genuinely) not at all like a 'shakedown'. I'd pre-order that Bill Barron set later this afternoon, if given half a chance. (Or any of a dozen other sets I could imagine.) Still, of course, there will be other sets I'd be less inclined to jump on immediately (even if I might later decide to get them). These last 10-15 years, my usual modus operandi was to wait until something I really wanted was about to go out of print (got to 'running low'), and then I'd buy every single Mosaic set that I could fathom wanting all in one big batch (to save on shipping) -- so like every 3-4 years, I'd put in these massive $350-$450 orders (I think once I did top $500 even). Then I wouldn't spend another dime until something else I wanted was about to go OOP, which usually took another 3-4 years. Well, if I gotta change my habits -- and my pre-order will only (help) make or break the existence of a set even coming into fruition (even if it means I have to pay more shipping as a result) -- then I'm fine with that, and glad to vote with my $$$ when my interest is sufficiently piqued.

Gave me -- and still gives me -- goosbumps. Love it when artists do something different, and hit it out of the park like that. The Marvin Gaye National Anthem also comes to mind.

Me too, but I'm pretty fond of bass clarinet, and even the exceedingly neglected alto clarinet -- in any context. All the clarinets have a better sound below the register-break (i.e. the 'bottom half' of the instrument, I guess you could say) -- it's the sound/timbre of everything above that register break (and the especially about an octave above that break and higher still), that's just like fingernails on a chalkboard to me.

William Grant Still here.

Yup, THAT'S the limiting factor here. Or at least players who were hemi-semi-demi-expats of some sort, at least kinda-sorta, for real (and specifically in Japan). Can't be a huge list, I know. I wasn't expecting more than a dozen names total, in the entire history of the genre -- and maybe well fewer than that.

Ah yes, Gary Peacock -- I know I've seen his name on a few otherwise (nearly?) all-Japanese dates. I have all of Joe Henderson's work with Japanese musicians (including with Terumasa Hino), and that Gil-Evans/Kikuchi date (which is phenomenal). Was mostly just wondering if any US players had actually sort of set up shop in Japan for a while (like Gary Peacock had, apparently) -- particularly if there were any less well-known US players who I might only barely know of.

Don't even know if there were any (or many), but I've been digging into some Japanese Jazz lately, and was just currious if there were any notable American musicians who worked a lot (with Japanese musicians), or who lived and worked in Japan for several years or more. I wish I had a name to offer, but I haven't run across any US names recently -- and my mind is drawing a blank if I ever ran across any in my earlier dives into Japanese jazz. And any recordings of note? - mixing primarily Japanese musicians with one or more US Expats? Thanks!

Could one of the mods kindly edit this thread-title to say "bill barton (former board member)". Or something that will quietly differentiate bill barton from Bill Barron (two names that are far too similar). Not suggesting anything about barton be divulged in the thread topic title, but something to help keep them clearly separate at a glance would be helpful. I don't ever remember seeing any of this thread before today.

Looks like a title I need to pick up!

Don't have an SACD player, but the expanded SHM edition of Out To Lunch (the one with the previously unreleased bonus tracks), was a total revelation! Sonically, and in terms of the extra material too. And I say "sonically" as someone who normally is about the furthest from being an audiophile as you can get -- but even *I* could hear a huge difference in the sound quality. I mostly only bought the Blue Note SHM titles that had extra material (unique to those SHM titles exclusively), but all of them sounded about as good as any issues of that material I'd ever heard. (And I think the only one's I bought that didn't have extra material, were the Sam Rivers and Larry Young titles, that hadn't ever been on CD before individually, and were only part of their respective Mosaics on CD).

Two good examples I can think of are "Nardis" (Miles Davis), and "The Rumproller" (Andrew Hill). Best known in recordings by Bill Evans (dozens!), and the later for Lee Morgan. But this extensive article about "Nardis" (that someone posted recently to /r/jazz on Reddit), claims one other tune that Miles wrote but never recorded... https://believermag.com/broken-time/ Specifically, and supposedly: "Miles never recorded the tune ["Nardis"] himself—the fate suffered by another of his originals, “Mimosa,” recorded once by Herbie Hancock [on Inventions and Dimensions for BN in 1963] and never heard from again." Thing is, I can't seem to find any(?) other references on-line to Miles having written "Mimosa" (for Herbie). Is there anything to this?? But then rather than start a topic just about that one tune in question, I thought I'd broaden it a bit -- to any more of these sorts of instances, particularly musicians of any sort of real renown (who recorded a lot), but who 'gave' tunes to others.