Rooster_Ties

And what about Internet porn? -- which wasn't anywhere near as available and ubiquitous on-line 10 years ago and before. I imagine video games and porn alone take up 4+ hours per day among teen and 20-something males alike, leaving far less time for anything as antiquated as music. Among kids (anyone much under 30 at this point), attention spans are razor thin, with little patience for music -- which only engages one of the senses (at best).

There might also be a release/latch somewhere near the door mechanism, accessible only through a pin-hole. I have no idea about this specific player, but (after unplugging the unit, of course), I'd look around for a hole somewhere on the bottom, back, or perhaps even the front -- that you could stick a straightened-out-paper-clip into. Stick it in gently, and if you bump up against something that allows you to push against it (but it kind of pushes back a bit), push in a little harder, and see if that doesn't trip a release that lets the mechanism open.

Registered where? I checked the link Sangry gave, and couldn't come up with anything. WE DEMAND PROOF!!

But isn't stereo twice as good as mono?

FWIW, it would appear that our own Rock Center has Kleinschuster's contact info (according to this post HERE). This tune isn't on the recently released 2nd volume of late 60's Kleinschuster radio recordings?? I know one of the discs in vol 2 is with Farmer and Jimmy Heath (both). My copy is 1,000 miles away in DC, or I'd check myself. If so, surely the composer credits would be accurate. (Though digging through some of the search results on "Kleinschuster" here just now, it would appear, Daniel, you're already well aware of these releases, and I'm guessing probably already have them.)

I realize a recommendation from me about Andrew Hill probably isn't the least bit objective, but FWIW - at this price, this is a pretty good deal (even sans booklet). There's only one Hill solo-piano recording I prefer over these ("Hommage" on East Wind, 1975). They are very introspective, but the music is quite beautiful -- and I *much* prefer it over any of Hill's solo work on Soul Note/Black Saint in the mid 80's (which I've never warmed to). FWIW.

Had some mixed feelings about this as a read the article, but then when I browsed the free library - I've gotta come down on their side on this. They appear to have a LOT of stuff that's commercially out of print (a significant number of works by late 19th century New England composer Arthur Foote for instance, a personal favorite of mine -- and I happen to know the his papers and scores are held at Williams College, where they'll make copies of anything that isn't currently in print for just the cost of photocopies, and send them to you clear across the country -- as my wife did for music for our wedding 10 years ago). Another even more obscure favorite is also in this free library too, including just about my all-time favorite cell sonata, by Julius Röntgen, a Dutch composer who was a friend of Grieg's. That said, they shouldn't house works still under copyright (or copies of modern editions under copyright), and let the chips fall where they may for the publishers.

Looking for something else, I stumbled on this thread, and a question I still don't know the answer to.

I'm not sure.

I think the Turrentine has some of his best work for the label, IMHO. He's better known for his soul-jazz sides, but many of these more straight-ahead dates are mighty good. Years ago, I had kind of written off Stanley as merely a one-trick pony (at that point all I'd heard was his soul-jazz stuff). Then I got Dizzy Reece's "Comin' On" and Duke Jordan's "Flight To Jordan" within just a few days of each other, and I was sold. Those two totally changed my impression of Turrentine.

Probably clueless to the coupons because if I remember right, unless you were a member, you never got those coupons or probably even heard about them.

Never knew about this issue before just now, and my Mosaics are all 1,000+ miles away at the moment (Washington DC), but I won't have access to them until at least May (back in KC working to get our house on the market). Can anyone confirm if Mosaic does know which batches are defective? I'm not going to lose any sleep over it if I don't get a replacement, but I'm curious if there's some way for me to tell (remotely) if my set has one of the bad ones (I could have my wife look up the issue #).

How much was shipping (assuming you pre-ordered a CD)?

Definitely curious. Anyone here pre-order the CD?? I'm sure thinking about it... More info here: Ryan Truesdell bio

I will say their choice of font (a rather clunky one, actually) for the letters in CLIMAX -- perhaps coupled with such a long word being spelled out vertically -- is rather freakish looking. And especially because the word has an "I" in the middle of it -- which, frankly, looks like crap when a word is spelled vertically, especially with such a wide letter like "M" immediately following it. C L I M A X So, yeah, I can understand being a little bit freaked out by it -- at least from a design perspective. Any way you look at it, that "CLIMAX" label looks like shit, IMHO, like a very cheap knock-off of Blue Note (VERY cheap).

Looking at the schedule, there's a bunch of FREE stuff, some of which looks mighty interesting. Just a couple that caught my eye, probably others of interest (but names I didn't recognize)... Friday, Feb. 25th PDX Jazz Free Performance Jazz Shabbat w/Afro-Semitic Experience 6:00 pm | Location: Congregation Beth Israel | FREE | Artist Profiles: Afro-Semitic Experience Saturday, Feb. 26th PDX Jazz Free Performance Klezmocracy 9:00 pm | Location: Rogue Distillery and Public House | FREE | Artist Profiles: Klezmocracy

For when this e-bay auction expires and disappears, here's the image...

All VERY much worth seeking out.

Not sure I'm familiar with that, but I'm sure I probably should be. (I *love* "The Barbara Song". ) What Gil album(s) is it on?

Funny, I had the exact same thought.

True on both counts, Chuck and Shawn. I'd forgotten that the marketing was probably trying to target much of the same audience, even if the music wasn't quite as stylistically similar (technically) as it perhaps purported to be (advertising-wise). (Easy for me to forget, having been born a scant 6 months before Bitches Brew was recorded. ) As Shawn points out, they felt they had to call it something, when it would've been safer to "Call it Anything".

You're right of course, technically, but the people who called it "commercial" and/or "rock" were just pissed cuz it wasn't jazz like THEY thought it should be anymore. So, what easier scapegoat could there be, but to blame "commercial" motivations (he's a "sell-out"), or else blame all that "wretched music" the "kids" are (were) listening to. Happens with every generational musical shift (Punk, Grunge, Rap only being three of the most recent) -- logic on the part of those old enough to want to THINK about music, simply goes out the window. Easier to blame what you don't like, than to try and understand that which isn't (yet) familiar. And besides, IT WAS REALLY FUCKING LOUD, SO IT MUST BE BECAUSE OF THAT DEVIL ROCK N ROLL, or something like that - doncha know.

w/ Kenny Wheeler and John McLaughlin?? Would have never guessed in a million years from the cover. Damn!