Rooster_Ties

Is this the "the titles of Peter Gabriel's first four solo albums" problem -- only in reverse, and folded in on itself in terms of both space and time?

I used to like The Wall, The Final Cut, and some of Roger's solo output better (20 years ago), but personally have little use for any of it any more. I know plenty of others see value in it (and I respect that), but I can't abide all the speak-singing, and the musical content (i.e. musicality) just isn't there for me either -- like it is with most of what Dave's been involved with since the mid-80's. That isn't to say everything Floyd 2.0 did is equally fulfilling for me (and some of it is a mixed bag), but almost nothing Roger's been involved with since 1979(!) connects with me any more (not even in the slightest). Nothing he (Waters) does sounds even remotely like the Pink Floyd (and Floyd-related) projects before or since.

Amen. I would file both The Wall and The Final Cut with Roger Waters' solo work, far as I'm concerned -- and Roger got exclusive rights to both under the terms of the lawsuit(s) back in 1987, which only makes perfect sense. Just listened to both AMLOR and The Division Bell in the last 24 hours (for the first time in well over a year), and both of the Floyd 2.0 studio albums aren't quite Pink Floyd either, but they are more so than either The Wall or The Final Cut. I don't care what anyone calls any of it, that's just how I see it personally. The "real Pink Floyd" debates are torturous, to put it mildly.

My 87 year old father is a life-long Mason, and I'm not sure I can really explain much of it myself, except a tiny bit and only in the most superficial way.

I file both of the Floyd 2.0 studio albums with Gilmore's solo albums... ...but then I would also file The Final Cut and even The Wall with Water's solo work. (So Animals is the last truly Floyd album to be.) But I enjoyed The Division Bell more than AMLOR, though I didn't even hear The Division Bell until 2004 (practically 10 years after it's release). Rick Wright's last solo album, Broken China (1996) is quite lovely too.

Count me curious enough to check this out. IMHO, Rick Wright is a favorite and underrated Floyd contributor, and anything with Gilmore and Wright together is worth giving the benefit of the doubt is my book.

The previously unissued bonus material and improved sound of "Out to Lunch" make it tops on my list.

Happy Birthday!!! -- from Rhode Island (at the moment). Looking forward to catching up over lunch when I'm back in DC. Have a great day! -- Cheers!!! :-)

Gerald Wilson, amen!!

I remember someone once referring to Tolliver's "nanny goat" tone.Yeah, I've heard a variety of opinions about Tolliver too (non-musically related), thus the way I introduced the notion of considering him. Whatever I heard (years ago, all on-line here, all third hand, and I don't really even remember any details), was a bit of a mixed bag. But I love nearly everything he's done on his own leader-dates, and most of his sideman work. FWIW.

The name I was thinking of suggesting was Charles Tolliver, though I'd understand if the volume of recorded evidence of his career (or if for other reasons), he might not warrant inclusion. Opinions of considering Tolliver, pro or otherwise, welcome.

I have a couple names I might also add to the list who ought to be considered -- but am wondering if there is a list of criteria that ought to be considered? Are there any particular metics that are (or ought to be) considered before someone is nominated?

Me too. I think I've claimed Oblique as my favorite Hutcherson date for almost 20 years. I have the US CD that predates the RVG, i.e. with the Japanese cover (which I like a lot more than the RVG cover). Certainly one of the very best pairings of Bobby and Herbie.

There's a cello concerto by turn of the century New England American composer Arthur Foote (1853-1937) -- his only concerto -- which I believe has only been recorded once, and issued on an obscure LP that I've never found (though admittedly I haven't searched the world over for it). That's the first one that comes to mind.

Any evidence (I know, none recorded that anyone knows of) that Tyrone Washington played in Silver's band on any "Jody Grind"-era live gigs? -- with (or even without) Woody Shaw? Have always hoped a recording would surface (or of Tyrone and Woody in the Jazz Messengers, shortly thereafter). One can always dream, right?

Two things I'd like to suggest we discuss here (in further honor of Mr. Silver, RIP) "Outside the norm" tracks from Horace Silver's entire catalog (and/or live recordings) -- where he delivered something a little different than maybe what (some of) his audience was used to expecting. Both good, or bad (or anything in-between) -- what are some of the more "interesting" examples of times Silver went a little outside his usual comfort zone(s).Sidemen that Horace worked with in his bands that either weren't as well known (generally speaking), or that most people never realized ever worked with Horace. For instance, are there any notable members of his LIVE bands that didn't get documented on record? - or maybe just barely documented? Or sidemen who only played on one or two albums of his, that are easy to overlook? (Or even easy to forget ever worked with Silver entirely.)EDIT: And here's a third idea we can also include: Were there any former sidemen he "reunited" with in later years, that he had played/recorded with earlier? I'm guessing probably live on stage, more likely than on record - but examples of either would be welcome. I think my first example (two versions of the same tune) from Youtube cover BOTH of the first two topics well.... I've always loved the title track from "In Pursuit of the 27th Man" -- with David Friedman on vibes(!), plus Bob Cranshaw on electric bass, and plus Mickey Roker. This track is notably less traditionally "funky" or "hard-bop"-oriented than Silver's output in general, and also the rest of the same album in particular. It features some killer "slightly-out"-leaning solos from Friedman, over mostly static harmonies, and an incessant electric bass-line from Cranshaw that (oddly enough) reminds me a whole lot of the sound of some tracks off Charlie Rouse's "Two Is One" (Strata East, 1973) - from almost the same year. Studio version: Rare live version with two-horn front-line:

Can a mod update the thread title? Will spin The Jody Grind this evening in Silver's honor. RIP.

How is the bonus material? -- especially the studio material with II and III? There are twelve threads about these reissues in the Hoffman forums, but I think/fear most of the talk there is about SQ issues and the 'sound' of the original material (and I haven't dared tried to sift through it to find the discussion about the bonus material). Casual Zep fan myself, but a sucker for interesting bonus material -- when it's interesting.

There's a recent RIP thread on the Steve Hoffman Board.

My wait until a sale (or something going OOP) method -- and then buy EVERYTHING currently in print that I think I could ever really want has served me pretty well in one other respect... I never missed out on many (any?) of the Selects I wanted when something like a dozen or more were suddenly unavailable forever, overnight, with practically no warning at all. I remember one of my biggest "binge" purchases ever included something like 6 or maybe even 8 Select sets (all in the same order!) -- when I finally had a good reason to buy (a sale, or just one thing I wanted going on the "Last Chance" list). Wasn't forward thinking on my part or anything, just dumb luck actually. Needless to say I was pretty relieved I had everything I really wanted when all those Selects disappeared overnight.

Just saw this on the Steve Hoffman boards... https://www.indiegogo.com/projects/join-miles-ahead-a-don-cheadle-film

Re: 10% discounts, it doesn't make a huge difference -- but I usually don't buy much from Mosaic except about once every 2 or 3 (or even 4) years. Either something I really want is about to go OOP, or there'll be a sale (or maybe both at the same time!!). And then I'll drop like $500 or even $600 for several sets (literally everything I want that they have in stock at that time - to also save on shipping). My purchase history with them is exactly like that -- nothing for years at a time, and then-- BAM -- I'll drop like $600 because of a sale (saving $60 plus maybe another $10 on shipping, as compared to if I'd bought the same total amount of stuff over several shipments). I know 10% isn't a lot, but I'm sure I've saved a couple hundred dollars over the years by waiting until a sale, and then going hog-wild.

Yes -- happy, happy birthday!!

Can't say definitavely, but anything is better than that aweful 32 Jazz packaging and proprietary jewel-box (if you can even call it that) design. Woody's one of my all-time top-5 favorite jazz artists, so given how crappy the 32 Jazz issues were, I "never didn't" consider upgrading to the Mosaic.

Love "Ballads for Bass Clarinet". A great disc!