Rooster_Ties

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!!

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.