Rooster_Ties

Aren't those all after the time-period in question? I'm essentially after all the late 60's and early, early 70's stuff Hubbard did after he left Blue Note, and (essentially) before he was on CTI (or as he was transitioning to CTI -- so everything that wasn't on CTI, from around that time). I'm not 100% sure, but the titles you link to in your post all seem to be from the mid-to-late 70's, including (primarily? - or entirely?)stuff he did after CTI (or as he was transitioning away from CTI).

Some on-line discographies (maybe organized by release date, rather than recording date?) -- have one or two NON-CTI Hubbard-led dates having been issued after his first one or two CTI leader-dates. ...which is to say that maybe I don't strictly mean "before" CTI -- but rather all the non-BN, non-CTI dates Freddie led in the late 60's and early, early 70's (meaning everything non-BN, before he went completely fusion). Some on-line Googling just not gives several discographies (including an 'official' one from Freddie's website), none of which seem complete. There are Wikipedia pages for each of these (below) -- is this perhaps "complete"?? (Links go to each album's respective Wikipedia entry/page.) Jam Gems: Live at the Left Bank, 2001, Label M Backlash, 1966, Atlantic High Blues Pressure, 1968, Atlantic A Soul Experiment, 1969, Atlantic The Black Angel, 1970, Atlantic The Hub of Hubbard, 1970, MPS Sing Me a Song of Songmy, 1971, Atlantic Then there's also the relatively recent 'live' title that Blue Note put out a few years ago -- which is also from this era (and while being on Blue Note, really has more to do with these non-BN titles than BN).

I've only just recently acquired a small handful of Freddie Hubbard CD's from the late 60s -- after from after he left BN, but before he was on CTI. From a quick glance, the AMG doesn't appear to have a complete list of titles -- and as best I can tell from the near abysmal (and impossible to read) liner-notes for the "Collectables" reissues of a couple of these, many of them (in their "album" format) seem to be drawn from multiple sessions. Does anyone know a good on-line resource that lays out Freddie's recordings from this time-period in a sessionography style presentation? -- with a key to what's on what, release-wise? Or any kind of reasonable presentation of the data (however it's organized). I have to admit that before now, I'd slept on getting Freddie's post-BN output for many years -- and (I'm just now discovering), maybe to my detriment. Any particular favorite titles that are must-have recordings from this era of Freddie's output? I'm especially drawn to the "larger" small-group titles, with tuba, euphonium, and/or French horn (a couple of the titles I have seem to have a couple tracks each with such larger groups -- but oddly, the "album-oriented releases" are from a hodge-podge of sessions, with different size groups). (Don't have the discs in front of me at the moment (but I've been meaning to start this thread for a couple of weeks). As I mentioned -- the liners are barely any help at all with a couple of them, impossible to read, and a jumble of info at best.) Many thanks in advance.

Were any of this latest batch particularly rare or hard to track down as digital (CD) releases previously? Or notably only available (on CD) as part of a Mosaic set, but spilt between two discs within the Mosaic?

I would have a tough time limiting it to 3 or 4 albums for each year of the 60's (resulting in a list of 30-40 albums total). 1963-73 is probably my favorite "jazz decade" - if I had to pick 10 specific years (and yeah, I know, even that's 11 technically).

I sure wish the Elvin date with Lee Morgan had come out as a single. It's my favorite out of the entire Elvin Mosaic.

Too soon for another bump?

Exactly my point, Jim -- this is all about hearing thr Rhodes in a new context -- and in one that isn't as crazy (in terms of timbre) as many might think. I *love* the sound of a Fender Rhodes, and anyone who does -- how could you not want to hear more of it (at least occasionally) in some unusual and unsuspecting contexts. I don't expect Bach purists to get it -- but this isn't for them.

From a long, long time ago... http://www.youtube.com/watch?v=yRoaG_AmqrI

OK, how about the idea of Baroque music with the basso-continuo played on bass clarinet? - an instrument that didn't even exist during the Baroque era? Along with this "Bach on Fender Rhodes" concept -- that's another anachronistic music idea that I've LONG thought would be fun to hear (continuo on bass clarinet). There's a summer chamber-music series my wife and I used to go to in Kansas City every year, and I must have had that bass-clarinet idea at least 10 years ago. Hell, why not both? - with a Rhodes on the harpsichord part, continuo on bass clarinet, and a more traditional lead-instrument part (perhaps violin, or oboe) up front?

His approach doesn't mirror that of my favorite trumpeters (all of whom have a tone that comes more out of Clifford Brown, i.e. Morgan, Shaw, Tolliver, Hubbard (mostly), and others). So, I haven't been as drawn to Douglas' approach as some others -- but I still have 6-8 CD's of his (and probably another half-dozen I've owned, and since traded), and I've mostly like what I've heard. Have met and talked with him two or three times -- back in Lawrence KS some 16 years ago, and a lot more recently at the Blue Room in Kansas City (maybe twice). He was always very cordial, and seemed like a very easy-going cat.

Don't totally disagree, but he's played that character for nearly 10 years now -- and it has to take a hell of a lot of energy to do all the time. And with the new show (1 hour per night, 5 nights a week - not just 4), that means 2.5x as much time to be in that character. As it is now, probably 75% of his 2hrs/week is tightly scripted -- it would be hard to sustain that level of 'density' of tightly-scripted comedy for 75% of 5 hours (or close to 4hrs/week). And on top of that, Colbert's current shtick is almost "David Mamet"-esque in terms of the speed with which comedic bits are served up. HARD to do in an hour-long format show. I suspect this is Colbert's big chance to escape the amazing but (what must be) tiring character he's inhabited for practically an entire decade. How many comedians have found the one weird thing that connect them with the public -- think of Gilbert Gottfried's voice (which isn't his natural voice), or any of a dozen other examples -- and then just burned themselves out (and the public along with them) driving that one trick pony into the ground. This is Stephen's big chance to lean on more of his other talents -- and it would seem this guy has tons. Good for Stephen, good for CBS, and good for us.

Thanks!! I pretty much view the board exclusively on my iPhone these days (laptop died at home, and I shouldn't be on the board at work -- the internet connection here is pretty slow). My memory of the "big list" you'd linked to (buried deep in the thread) was that it was just a big list (didn't realize it had release dates). The mobile-version of the forum software doesn't have any way to jump to specific pages within a thread (or, as best as I can tell, a way to just to be very beginning of the thread without going back page, by page, by page). But thanks!

So, I have to confess to not having followed the rollout of the SHM Cd's (or this thread) in real-time as it happened. Didn't even buy any until I suddenly noticed the most recent Larry Young, Sam Rivers, and John Patton titles on The Bastards' website ("holy crap, Contrasts??!!!"). So, my question is -- were these new SHM titles coming out on any kind of perceivable schedule, like in batches in regular intervals? When was the last batch? Is there any reason to think there might be more coming? What's the lowdown on this series, as an active program?

Not yet, but I did check with a Russian born coworker of mine, to see if he could help me order one from some Polish online source (as yet to be determined -- appreciate your helping sleuth this!). Jim, maybe I could order two copies, and send one along to you from here in the states? I've been meaning to send you something else Too for What seems like forever. ;-) Let me know if you find any good options!

Can't wait to get this, and slip it on one Saturday morning - just to see how long before my wife notices the Rhodes. (I'm guessing a good 20-minutes into the disc before she does -- depending on how loud I have t turned up.)

if the list could be extended, my candidates would be Jelly Roll, Hawkins, Charlie Christian, Jimmy Blanton, Kenny Clarke, Rollins and Ornette. Can't be extended. You gotta take names off, before you add any more back in. Top-10, that's the limit. But you bring up a good point by including Charlie Christian (who I'd overlooked). Time to rethink my list.

Didn't say he did (even I know that'd be crazy). Just said "much as I might like it".

11 Minutes of audio from the CD to enjoy!! https://soundcloud.com/capella-cracoviensis/sets/bach-rewrite

Ignoring vocalists, here my stab at this (in order of greatest influence -- though I totally get the argument that Duke should be lower on this list, but I'm really torn). I also feel Ornette should be on here, but I'm not sure if he should be (or not) -- much as I want him to be. Pops Duke Bird Miles (more as a jazz auteur, and for his sense of space/timing, than his influence on trumpet(ers) per se) Trane I want to say Monk, but it's probably really Bud Bill Evans Brownie Max Roach (if not, then Blakey, but I'd give it to Max - not that I really know in terms of "influence") maybe Jimmy Smith? (in a nod to our good caretaker) Who am I forgetting, and who would you kick off my list to make space to include them?? Interestingly, the only people I've listed that I personally have a "way bigger than average" appreciation/obsession for/with are Miles, and maybe Max Roach (though to a lot lesser extent than Miles). And lterally NONE of the others (above) are ones who I'd rank as being among my all-time top-tier favorites on their respective instruments. For instance, if I were to not take any of this "greatest influence stuff" too seriously (and I "over-elevated" some people as a result) -- my list might include more people like Herbie Hanckock, Joe Henderson, and Woody Shaw -- all of whom were very influential (I might even argue Joe as being THE most influential tenor player, in terms of CURRENT influence, over the last 20 years say). But what about Wayne? Where does he go in all this? Top 20, sure. Top 10? - probably not. And I'd LOVE to include Larry Young, but realistically - he's not been that influential (to say nothing of Andrew Hill, also a "not so much"). Now Lee Morgan is huge influence (I think), but realistically you can't have any more than Pops, Brownie, and Miles on the same list (if it's limited to top-10) -- and Lee comes out of Browie (as does Freddie Hubbard, Charles Tolliver, and even Woody Shaw). And if any bass player would deserve to be on the list, I guess it probably would be Mingus (much as I'd rather include Dave Holland, for instance). And I'd love to include Gil Evans, but really, is he even top-20? Again, look at my original list -- who's missing, and who would you take off my list to make room for them?

For those wanting to skip the video, it says... Pops Mingus Trane Miles Wynton Bird Chick Benny Duke Herbie

I have GOT to get this. But where's the best/easiest way to get it here in the US? http://www.youtube.com/watch?v=L6rRCu00jNc http://jazzsoul.pl/2013/10/04/nowa-plyta-bach-rewrite-czyli-bach-na-fortepianie-elektrycznym/ Crazy busy day at work today (hell, this week and next), I'll have to look into it later (but had to share now!!). Just saw this via Reddit this morning on the Metro.

Thing is, most folks (including - I would venture - most folks here) *don't* have those bonus tracks elsewhere. And even if I did, I appreciate the editorial decision to 'highlight' them by their inclusion here, essentially elevating them above the rest of the material from whence they came (which I'm sure was a good call). But I understand, different strokes for different folks. As far as the SQ of the main material, I am beyond thrilled with the clarity of mix/remix. One of THE most stunning recordings of any live Miles I've yet heard (from any decade).

Always liked Sun Ra's upbeat (almost double-time), almost march-like version(s?) of "Round Midnight". Whether they qualify as "over the top", or not - they're certainly not the norm.

Funny, the SQ of the bonus tracks doesn't bother me a whole lot, and I'm still glad they're there (the interest factor definitely trumps the SQ issues for me). I mean, "Footprints" in 1970, are you kidding me??!!! Never in a billion years did I expect to hear one of Miles' 70's bands playing "Footprints".