Rooster_Ties

Oh man, I'll be all over that one - and how!! Anybody got a track listing??

That is a pretty strong live performance. And one of the very few (only?) piano-less dates Woody ever played on (at least that got released).

Got my Byrd/Adams only two or three days before it was too late. Whew!! I'm sure I'll be pulling the trigger on the Mobley mighty damn quick after I get the word that its days are numbered (or before July 1st - whichever comes first).

So what's the deal with two versions of the cover???

Two full-length tunes are now available to listen to on the Bluenote website. Definitely one I'll buy the day it comes out (assuming I can find the damn thing -- took me three damn days to find a copy of Passing Ships in this town.).

"Jazz is not dead - it just smells funny' -- Frank Zappa ...may have not just been a metaphor.

Will this topic bring new meaning to the term "thread crap"??

Sounds like something I need to get, and fast!!

Yeah, me too. Been meaning to pick up one or both of these for ages.

Two other considerations. Select prices go up about $5 a pop starting July 1st. And the Mobley set will surely be one of the next sets to go OOP. (FYI, it's the oldest Mosaic set of Blue Note material currently still available, I'm pretty sure.) I don't have one yet (the Mobley), but am planning to get one before the Selects go up in price -- since I'll be picking up a couple of them too at the same time. I predict the Mobley set won't last through all of 2006. Heck, it could go on "Running Low" or even "Last Chance" status any minute now, for all we know. (And yes, sets have occasionally gone straight to "Last Chance" status before, without ever having been "Running Low".)

The aim of my suggestion had as much to do with author rights, as the rights of the public. (Again, to recap my suggestion -- a work written in 1950 would be up for its first renewal in 28 years (1978), and its second renewal in 28 more years (2006), then automatically falling into the public domain in 28 more years (2034). Though it could easily have fallen into public domain either in 1978, or again in 2006 – if the author either chose to not renew, or failed to renew.) This would mean that inactive copyright holders would "allow" their works multiple options for falling into the public domain (benefiting the public, in terms of potential greater legal access to obscure music!! - since anyone could then reissue such titles). And overall, 84 years is a pretty long time -- even longer than the "70 years from the date of authorship" rule, but somewhat less than the average "70 years from the death of the author" rule. And having multiple renewal options (or you could think of them as "requirements" from the perspective of the copyright holder), copyright holders would have to stay on top of things (somewhat), or else the public would periodically (every 28 years) get a crack at anything left inactive (or "forgotten", if you will). You could pick any number, really -- every 20 or 25 years -- and set up a maximum number of renewals -- say 4 or 3. (So 4x20=80, or 3x25=75.) All I want is something that would let more stuff fall into the public domain a more quickly (especially obscure stuff and/or stuff with limited commercial potential) -- while completely respecting the right and need to let active copyright holders retain their rights for a "relatively long time". Any problems with this suggestion that I'm overlooking?? -- logistical or otherwise?? Edit: Or if 84, or 80, or 75 years is too long -- then how about 3x20=60 years?? (Though personally I don't have a problem with somthing in the 84-75 year range.)

I love Mosaic, and have bought many, MANY sets from them over the years. My complaints about them are VERY few. But their shipping costs - particularly on small orders - are definitely a pain. Maybe they do that to encourage larger orders - I don't know. All I know is that their shipping costs are high enough that I usually try to get a couple local buddies to all go in together on one order, so we can all combine on shipping.

Listening to the NPR interview (the link provided in the first post in this thread), I was struck at how incredibly conservative the author was. Don't have exact quotes, but the author was clearly disappointed in the plethora of current jazz styles (and especially the supposed "attitudes" behind those styles) -- styles and attitudes that plain and simple, he just didn't like. And of course, because he didn't like them, they were clearly bad. (Or so seemed his subtext.) I'm sure most of us here could assemble top-50 lists that would be infinitely more valuable than what this guy's supposed "process" came up with. My list would include lots of names whose music I don't personally have burning passion for -- as I'm sure most of your lists would too (in terms of your own interests). But if one makes even any attempt to be comprehensive (stylistically), then there are gonna be names and styles present that don't all float one's boat equally. If the author did indeed poll "hundreds" of people with his questionnaire process -- then it was exclusively his friends, colleagues, and acquaintances -- all of whom were as musically conservative as he was. What an absolute waste of time.

I'm suddenly wondering what else Rene McLean is on (in the 70's) that doesn't come up in the AMG (like this thing, which I'm sure doesn't). He's a guy who didn't record nearly enough back then for my tastes, and I'd love to find some other lesser-known sessions he's on.

Found my burn, and I've just given the whole thing a spin (all "nearly 40 minutes" worth)... Never have I felt so conflicted about an album. What I like about it, I definitely like. A few moments even, here and there, I truely love. But, my god, the cheeze is SO damn thick and cheesy -- and it's nearly EVERYWHERE (and I can stand a lot of cheese). Two or maybe three of the vocal tracks are some of THE worst music of this type that I've ever heard. I'll hate myself in the morning, and I'll kick myself all the while entering my order online -- but so help me, if Dusty has it for anything less than $18 -- I'm pretty damn sure I will end up buying a legit copy for myself when it finally becomes available on CD.

Couw may be refering to the sales-blurb that came from Dusty's website (which I quoted in the first message). The name is certainly mispelled there. Don't know about the album itself. Sangry has my original LP, so at least one of us (Jim) can check if anyone is curious how it's spelled there.

That's for damn sure. Edit: But maybe if I lower my expectations, there's more there than meets the eye/ear. I still can hardly believe that both Renee McLean and Idris Muhammad were on this thing -- cuz that should have been a monster group. Time to dig out my burn (oh where did I see it last??), and see what's there first hand.

Calling Jim Sangry -- since I mailed you my original LP of this a few years ago, would you mind digging it out and doing a review of "Do Right"?? I'd be interested in your impressions. I've still got a burn of it that I'll dig out too, but I haven't spun it in ages. My memory is that, overall, it's a pretty darn cheesy release (and I mean REALLY cheesy) -- without even all that much soloing (or at least not much that was notable, that I can remember). But seeing Renee McLean's and Idris Muhammad's names in the credits now (which I had totally forgotten about), has my interest piqued again. And since my first listen to "Do Right" about 3 years ago - I've warmed to a number of sessions I might have previously written off as being overly "cheesy". PAGING JIM SANGRY.

OK, a little searching on-line, and I discovered that Monty Alexander is ranked #5 on the list.

Here's a good review of the book (source) Gene's List by Shaun Brady Books Already on the defensive with BRAC breathing down its neck, Willow Grove may not be the best place to go looking for a fight. But Beaver College piano prof Gene Rizzo drops into the local Barnes & Noble with that most divisive of tomes, the list book. Rizzo's slim volume, The Fifty Greatest Jazz Piano Players of All Time (Hal Leonard, 222 pp., $19.95), is a fairly demure opening salvo, featuring brief bios on each entry and little in the way of explanation for the rankings. Yet the book offers plenty to spur debate, given that Rizzo's tastes fall well on the conservative side of even the Wynton Marsalis Official Jazz Standard. Thelonious Monk is placed way down at number 15 on a list that includes latter-day bop revivalists like Monty Alexander and Benny Green in its top ten. (Green's entry is largely spent marveling at his youth, despite the fact that, at 42, he's older than Coltrane was when he died. Don't look for relative toddler Jason Moran's name between these covers.) Sticking to the Ken Burns narrative, Rizzo's conception of jazz excludes most of the innovations of the past 50 years, ignoring free improv by relegating Cecil Taylor to the "Honorable Mention' appendix and not even granting Marilyn Crispell a spot on the "Top Ten Women' afterthought. Rizzo begrudgingly allows Keith Jarrett to sneak in at number 50, well below a host of semi-obscure post-Shearing easy listening types. As the author notes, "the quantification of talent is tricky business," but for those itching for battle I offer my own pet talking point: Where the hell is Andrew Hill?

I should have said "when BN inevitably does a Conn" of Natural Essence (which I personally think inevitably they will do). But alas - I have no insider information (not even one scrap), about the status of Natural Essence being on (or off) the radar of MC -- or anything about him considering (or not considering) the release of any or all of the Trainwreck session. I still think we should do a letter writing campaign. Seriously.

I think we'll see some of the Trainwreck session released as bonus material when BN (edit: eventually) does a Conn of Natural Essence. Hell, we've seen a ton of previously unreleased Andrew Hill come out -- including some arguably "rough" dates that even as recently as 3 or 4 years ago we probably all thought we'd never get to hear. Thing is, we need to pepper Michael with requests for the Trainwreck. And we need to start a letter-writing campaign about it, I tell ya!!

...and bullshit it is. Reminds me of the adjunct professor who taught jazz piano at the college I went to (Knox College) back in the late 80's and early 90's. He thought he was all hip, and was really damn proud of all his chord substitutions (which were, I'll admit, pretty cool). But I remember playing some relatively "inside" Sun Ra for him (something off of "Purple Night" or "Blue Delight" probably) - and him recoiling in horror at how the piano player kept fucking up the form - and didn't seem to have any idea what he was doing hardly at all. Even at the naive age of 20 or so, I remember thinking "WTF??" .

Never in a million years did I expect this to be released on CD. From you-know-who... Tyrone Washington -- Do Right . . . CD . . . Upcoming Release -- Around March 3, 2006: Hit the 'Send Request' button to receive an email notice when the item arrives. Very nice record that differs greatly from Tyrone Washington's other albums, all of which were a bit more avant garde than this one. This session, recorded for the obscure New Jersey label Labor, features Idris Muhammad on drums, Renee McLean on alto, and Hubert Eaves on electric piano. It's got a smooth sweet funky sound, with a bit of a soul jazz spiritual tip, and the sound is a great match for Tyrone's tenor, which never quite hits it for us in the avant garde moments. Tracks inlcude "Land Of Eternity", "Paradise", "Brother Man", and "Universal Spiritual Revolt", which is a bit "out" there. Especially when what NEEDS to be on CD is Tyrone's "Roots" from about one year before -- which is a fantastic album!! "Do Right" has a few moments (from what I remember), but "Roots" is da shit!!