Rooster_Ties

Not an actual box set per se... But the vast amount of live Woody Shaw (leader and co-leader dates) might as well be a box set (of sorts). Six (6) discs on Highnote alone (if you include the two with Louis Hayes). Then a bunch further on other labels, some from essentially the exact same sorts of sources as the Highnote material (or at least that one from the "International Trumpet Guild" sure the heck seems like Vol 5 in the Highnote series, in all but name). Anyway, we've gotten a TON of live Shaw over the last 25 years (the first live Highnote came out in 2000). And -- though released separately -- collectively it all seems like a live box set of sorts (and not just the Highnotes either -- but all the more recent ones too). Not every track is a 10/10, but I'd argue the great majority is (at worst) a 7/10, and often better An embarrassment of riches for Shaw fans -- what is it, a dozen hours? Closer to 15?

Gas station shrooms, or weed, or sushi too for that matter — just inherently seems like a bad idea.

Holy shit — that’s for just a SINGLE 1cd release?? WTF??!!!

Addendum. It appears like that first double-episode was released on VHS — probably appearing as though it was a standalone movie at some point… Per the description of this upload to YouTube… • The infamous flop from NBC's 1979 lineup returns with a recording from the 1988 Star Classics release of Supertrain, titled under the name of the first episode, "Express to Terror". • This recording comes from a recent acquisition of a VHS rental copy of the film.

Was there ever a Super Train movie? My Googling isn’t turning anything up — unless you count the first episode (which Wikipedia says was a double-length 2-hr episode). Or did that play in theaters?

Interestingly, my first jazz love was Miles Davis (starting around 1989) — and I probably had 50% of his Columbia output within 3 years (his 1956-70 output mainly, all years) — so a LOT quicker than I ever had any great volume of anyone else. And I think I got hold of cassette dubs of the Japanese Complete Plugged Nickel around 1991 (along with Euro-boots of the 2nd great quintet, and lost quintet too). ALL THAT SAID, I’ve only recently (last 5-6 years) been getting steadily more into bebop, and listening to 50’s and even 40’s jazz WAY more than I ever did 30-35 years ago. So NOW (recently) when tracks off The Plugged Nickel come up on various Pandora stations for me — which happens a fair bit actually — now I’m hearing Miles (especially) through a whole new set of ears. All I hear is the distinction between his chops, and the chops of more fluid players from the 50’s, Diz, Byrd, Lee, Thad, KD, etc… My frame of reference has definitely changed — or, rather, when I’m not really thinking about it, THAT’S what I’m more naturally focussing on in Miles’ playing. Miles’ language was what I was ‘raised on’ (jazz-wise), and it always seemed perfectly natural — even all the Plugged Nickel material… But now, it’s almost like I have to consciously put on a different set of ears to listen to the Plugged Nickel material — which I’m happy to do — but I’m literally reminding myself (momentarily) that he’s not playing out of the same bag of ideas as the norms for be-bop, and early hard-bop. Never dreamed I’d be hearing Miles that way, but here I am.

To be clear, I do own the Renonance 3cd set outright too — bought it new from Dusty iirc, shorty after it came out. But yesterday was my first time hearing it with earbuds (albeit via Pandora) — in mono, of course.

I dialed up the Resonance 3CD set to listen to Iron Man via Pandora on my iPhone (on earbuds) on a walk recently — and I’d forgotten it was mono, which I’m not at all a stickler about (or so I thought). But then looking for the Illinois Concert to listen to next, on a whim I decided to listen to some random earlier reissue of Iron Man, which happened to be in stereo — and the difference between the mono and stereo was absolutely stark — something I was surprised I even cared about (but maybe it was partially my hearing it thru earbuds?). Somewhere in a box of discs I eventually plan to trade off one of these days, I’ve got my 1986 US ‘Celluloid’ reissue of Iron Man (which appears to have been the album’s very first CD reissue) — and one of the first 20 jazz CD’s I ever owned (I found it used around 1990, iirc). Any thoughts on the mono-vs-stereo aspects of the Resonance set? I probably don’t care about the entire set being in mono — but “Iron Man” in particular, and the Iron Man album a little more generally — is just about my favorite Dolphy ever. (So maybe I’ll dig out my old ‘Celluloid’ cd and keep it after all.)

Oh, right — those were Japanese only too.

Those might be THE most whack examples of cover art in the entire ‘legit’ Miles catalog.

Agree! I never had the original 7-disc Japanese set — but that reminds me… I “ran into” a fellow Miles fanatic online around 1992-93, who made me cassette dubs of the whole Japanese set — and then I got the US 8cd set a few years later. But it was well over a decade later before I ever saw (online) what the original 1992 Japanese packaging looked like… https://www.discogs.com/release/8071963-Miles-Davis-Complete-Live-At-Plugged-Nickel-1965

That’s an excellent question!!

QUESTION: Am I just hallucinating that there was a disc of all Tina tunes?? (or nearly all Tina tunes) — recorded by somebody more recently? (Within the last 25 years, more likely the last dozen years.)

https://www.billboard.com/pro/miles-davis-publishing-catalog-rights-sold-reservoir-media/

I have the Town Hall Uptown on just now… And looking at the copyright date on the tray-card, I hadn’t realized it’d been nearly 20 years since it came out (Nov. 2005) — and 22+ years since this thread first began. Where does the time go??!!!

Tempting!!

I’ve been meaning to explore more of his recordings for a while now (years, actually). I only have a few Dave Scott discs that Perry is a sideman on — and a few larger-group contexts he’s on, but I’m not sure how much solo space he gets (like with Maria Schneider and several other big bands). http://richperrymusic.com/discography/ I wish there was somewhere — at a glance — I could survey (see) who are the various sidemen on Perry’s leader-dates. Which ones have other horns on the front line, and who — and what kinds of rhythm-seconds (with piano, or organ, and/or maybe guitar — and if any maybe have vibes). 30 albums is a LOT of leader-dates, and I’m sure I’d be game to try and focus on (get) half-a-dozen — if I could just figure out which ones — and I’d probably love most of them, I imagine.

I was totally unaware of Catalyst before this thread appeared last night. QUESTION: What would be the second strongest of those four albums?? I streamed most of Perception on my walk into work this morning, and i was pretty much blown away by it — YOWZA!!

I had no idea of this release! Damn shame it’s not on CD, or not that I can see. I asked Michael very specifically about that in person at the Library of a Congress in 2014 (after a panel talk he was on with Jason Moran and Lou Donaldson) — after he’d eluded to some live Hill thing when he was doing some press for Freddie Hubbard’s Without a Song: Live in Europe 1969). Michael said it was not some old(er) archival recording — but it referred to some larger live group thing recorded in the UK more recently (mostly with UK musicians, augmenting his core US quartet, iirc). Or if not UK, somewhere in Europe, or maybe Scandinavia (maybe Finland?) — but I’m thinking it was the UK. In any case, definitely not a Hill trio thing (which I would have loved to have heard).

Anyone know how this would affect an order from Amazon France? (I’m eyeing a new release David Bowie box that ships in about a month, which seems to be dramatically cheaper from Amazon France specifically for some odd reason.)

As much as I like Andrew’s music — if I’m being honest, it’s really probably more that I really love rediscovering Andrew’s recordings — WHICH, nearly every time I listen to them (whether it’s been a couple of months, or a year since I’ve listened to a particular album), it’s almost like hearing most of them for the very first time. Not exactly, and less so for Black Fire (which I’ve probably heard the most often) — but for practically all of the rest Andrew’s catalog, it’s a little almost like don’t know these recordings, no matter how many times I’ve heard them before. They’re (almost) always ‘new’ to me — or hearing them is more like hearing them for the first time, to a degree unlike nearly anything else in the entire Blue Note catalog. I might (almost) love most of Andrew’s BN output — but what I really love is how they’ve kept me guessing with their unpredictability, for 30 years this year. I got the Hill Mosaic big-box in 1995, my second-only Mosaic purchase, which I really only got because of all the sidemen on it — and I’d only ever heard Point of Departure before that, and didn’t really know what to make of it, neither loving nor hating it back then. And it also took me a solid 5 years(!) to even half-digest the Hill big box. All that said, I also don’t see him as some monumental jazz ‘auteur’. Every musician I’ve ever talked to who played with Hill for any length of time has described some experience similar to having questions (lots of questions) for Hill about what to do here, or the meaning of vague charts (to put it charitably) — nearly every time, Hill’s reply was a quiet/tepid “what do you think? He seemed like the LEAST assertive ‘leader’ in all of jazz. And yet, one could perhaps argue Hill’s actual approach wasn’t all that different than Miles — hire great and creative sidemen, and leverage their strengths. (And Hill probably did arguably ‘write’ more in his process, than Miles did in his.) Anyway, I love Hill’s Hill’s BN’s — but largely because of the way they seem to almost force “continual rediscovery” — at least in my case.

Just happened to listen to Dance With Death on my hour-long walk to work this morning. My “Billy Harper” Pandora station randomly served up the last DWD track to me, so then I streamed the entire thing. The best thing about Hill — especially his entire first run on Blue Note — is how even after 30 years of listening to Hill, even now I can’t anticipate where individual solos are going from moment to moment (unless I can remember where they’re going). Nothing obvious, and his music (and the solos of his collabators) are almost entirely bereft of clichés. Hill is almost always like a breath of fresh air.

A number of times I’ve pulled up a few favorites — mostly semi-standards, or “almost standards” (primarily written in the 1960’s & 70’s) — to try and find as many different versions of those tunes. Like who the heck has recorded anything of the better known tunes by Charles Tolliver, or Joe Henderson beyond “Recorda Me” and such. So not ‘standards’ per se — but the best-known tunes by some of the post 1963 greats. Or I’ll look up every single tune from a favorite slightly-lesser-known album — like from Speak Like A Child or The Prisoner — to see which (if any) have been covered. Shame that has to be done song-title-by-song-title — and that there’s not an easier way (on the streaming platforms directly) to, say, give me every song written by Andrew Hill that doesn’t have him as the recording artist. Fortunately you can sorta get to some of that thru Discogs — but it’s very tedious, and relies on composer-credits having been entered (which isn’t done nearly enough). And then you gotta go digging for an online version to stream (if you even can), or maybe it’ll be on YouTube — but then maybe in an entire album or album-side upload (and not just the one track as its own video). A major pain in the ass, but still light years more to be found online than 10 or especially 20 years ago.

OK, maybe(?) I was thinking of Jackie McLean's Tippin' The Scales -- which on first glance sorta(?) looks like a negative -- but really isn't actually...

Here's the Dex... Clubhouse. (And for some reason I thought it had a red background -- but maybe I'm remembering something else.)