Rooster_Ties

If they were made of dark chocolate, instead of milk chocolate, that'd solve that problem right quick. I can't eat too much milk chocolate all in one sitting -- too sweet. But man -- dark or even bittersweet chocolate!!! -- I can really put that stuff away!!

Just finished listening to the entire RealAudio stream of the Elvin/Wynton version of ALS. Not half bad, not half bad - warts and all. Normally I bash Wynton until the cows come home, but even I have to admit that it took some balls to even half-way pull it off. (Still wouldn't touch Wynton's new big-band version with a 100-foot pole, though. )

Just bumpin' this up for more . The deal last time they did this, it was $1 off any CD (or book, or almost anything really), as long as it was priced at $5 or more. The real deal, then, is/was to find sellers that have good inventory on several discs one is interested in (from the same seller), and then use the combined power of the "$1 off" sale, along with reduced shipping charges on multiple items from the same seller. But the trick is to do enough homework to have all that stuff loaded into your "wish list" in time for the sale. (The cut-off is midnight on Wednesday night, roughly -- don't know what time-zone). The other thing too, is that if you forget when the cut-off is/was, and you add other stuff to your wish list after the cut-off --- then you can't tell what you added when. (Had this problem last time, and didn't end up getting a few things cuz I wasn't sure when I really added them.) But, at least in my case, all that stuff is still in my wish-list, so maybe I'm mostly all set for this next promotion. Great for CD's priced in that $5 to $6 range, since basically shipping ends up being free (almost), as long as you're getting multiple cheap discs from the same seller.

Many here will find this hard to believe, because I'm normally no fan of Wynton (neither his music, nor his musical politics). But Spontoonious loaned me a recording of Elvin Jones, Wynton, Marcus Roberts, and Reginald Veal performing A Love Supreme (live) back in 1992. And while it's not totally compelling -- I did find much to like in what I heard. In fact, just now I was digging around looking for the CD cover of this release, and I found a link to a RealAudio link of an entire performance of ALS by the same group at Lincoln Center (the version released was from a performance in Tokyo). The page where the link was is now out-of-date, but the Google cashe of the page still has the link -- and it still works. CLICKY LINKY The actual performance of ALS starts around the 12:30 mark (of a total of 59 minutes of audio). While I'm not totally blown away by Wynton's interpretation (nor Marcus Roberts' contribution), I do think the material rises above the players -- and Elvin certainly keeps things interesting (and Elvin helps make the others more interesting too). AND, if I 'squint' my ears hard enough, I can seriously imagine what Woody Shaw might have done with this material (oh, what I wouldn't give for that!! -- quick, get me a time machine!! ) Anyway, I don't think new full performances of ALS are necessarily a bad thing, but I do think the work requires some care in how one approaches it -- both from the performer, and also from the listener too. I am deeply terrified, however, of Wynton's latest take on ALS, which he has recast for big band. But the earlier version with Wynton (from the early 90's), is something I would gladly buy if I stumbled across a cheaply priced used copy. It ain't perfect, I know (and not by a long-shot), but it's better and a lot more interesting than I was ever expecting. (Call it at least half-a-thumbs-up.) Here's the cover -- found it on a Japanese site...

First, a BIG thank-you to Jim (A.) for participating in this wonderful thread!! I'm outgunned with musical/recording discussions this technical. And my cheap stereo equipment (and not just relatively cheap, but relatively "cheap" cheap ---> $150 executive bookshelf CD systems by Panasonic, Aiwa, etc...), always means I always have less of a frame of reference for discussions that are of an audiophile nature. That said, I wanted to say how much I'm enjoying reading a thread like this (for a change) - where audio considerations are very "real" in nature (even if they are somewhat technical) -- so much so, that even I can relate to them. The one topic that's just come up here, which I feel strongly enough to chime in on, is the issue of "isolation". I suppose, to a large degree, it's used in most modern studio recordings these days. But often, it seems that this is the very thing that can kill the enjoyment for the listener, and even impact the quality of studio performances. Take a recording like McCoy Tyner's "New York Reunion" (Chesky, 1991). I'm not trying to pick on it in particular, nor am I picking on any of the technical folks that worked on it. It is but one of a thousand of examples of a perfectly good studio recording that simply sounds too "good" – at least to my ears. When I listen to this release (and those like it), the sound is so pristine -- so perfect -- that it really is almost distracting. I can't imagine a performance space that sounds anywhere near what my ears hear. Every instrument is perfectly balanced, 100% of the time, and everything is just too damn perfect. Another example, again not to pick on it in particular (cuz there are many more examples like it), is the Woody Shaw Mosaic (especially the large-ensemble stuff). Every instrument sounds like it was recorded in its own separate space -- to even more of an extreme than the previous McCoy Tyner example. Do the musicians in most recording situations where extreme isolation is employed, even have real sight lines to each other?? Much of what makes a jazz group work, is the almost telepathic nature of the interplay of the musicians -- except I imagine quite a bit of that "telepathy" is a product of visual cues (even those not overtly communicated). Think of a soloist, eyes probably closed, and those in support roles who rise and fall with the soloist (in intensity) -- yes, of course based on what they're ears tell them -- but also (I would have to think), based on their eyes observe as well. How to turn my rambling post into a question... Well, I guess I would be curious to hear from Jim and the other engineers here -- and from musicians too, who have done studio recordings -- how they compensate for these issues, particularly "isolation" booths, or similar situations.

Couldn't agree more. My uncle plays me bits of his Sandoval CD's every time I visit, and I don't think I've ever heard an inspired note come out of his horn. My uncle played me some more Sandoval over Thanksgiving. My uncle's totally taken with what Sandoval can do in those upper, upper registers. I still don't get what the draw is.

Why is this one such a bitch to find?? I understand our own Spontoonious has been looking for one for years (but the bidding always goes too high for him, and he never sees it when digging through LP's). And another buddy of mine (a guy 10,000 LP's in his basement), used to have it -- but was offered $300 for it once, and it's one of the very few LP's he's ever sold in his entire life (he keeps nearly everything he ever buys, 99% of the time). What's the deal?? Can anybody provide Spontoonious and me with a burn?? "In the World" (Strata East, 1969-ish) line-up (at least according to the AMG)... Don Cherry - Trumpet Richard Davis - Bass Kenny Dorham - Trumpet Ron Haynes - Drums Albert "Tootie" Heath - Drums Clifford Jordan - Tenor Wynton Kelly - Piano Julian Priester - Trombone Wilbur Ware - Bass Is everybody on every cut?? I'm guessing probably not. Two trumpets, two drummers, two bass-players. Any why is there an image of the cover in the AMG, when most of the time -- there've only got images of things that have been released on CD. AND, they have an image of the cover -- but no review!! (???) Edit: What's the big draw here?? Cherry in a conservative context?? Dorham in a progressive one?? One of Dorham's last dates?? Simple "supply and demand" issues?? (Though I wonder what's driving demand here, or is "supply" simply razor-thin?? - i.e. a very small initial pressing, and then nothing else - for some strange reason??) Lot's of speculating, I know.

/obligatory

My wife has really taken to this band since this thread went dormant. They sound quite a bit like Radiohead, but with a very "Jeff Buckley"-like singer fronting the band. She likes 'em a bit better than I do, but they've grown on me a fair bit too. Muse - "Showbiz" (WB, 1999) Muse - "Absolution" (Mushroom, 2003)

Just saw this link in another Moncur thread, and thought I'd post it here -- since this entire thread is about Moncur's new release. Grachan Moncur III Octet - "Exploration" (AAJ review)

This is my week for bringing up old threads... New stuff (by relatively new bands) that I've discovered and enjoyed quite a darn bit over the last 6 months... Death Cab for Cutie - "Transatlanticism" (Barsuk, 2003) Death Cab for Cutie - "The Photo Album" (Barsuk, 2001) The Postal Service - "Give Up" (Sub Pop, 2002) That last one (Postal Service) is a side-project (a duo actually) by Death Cab frontman Ben Gibbard. The Stills - "Logic Will Break Your Heart" (Vice, 2003) Snow Patrol - "Final Straw" (Universal, 2004) Franz Ferdinand - "Franz Ferdinand" (Domino, 2004)

When do I get my award???

Louis Smith sorta fits the bill, I think. (Not 100%, but close enough to at least mention.) Only two dates as a leader (the BN's in the late 50's), and maybe half a dozen more as a sideman (at least that's all I'm aware of) --- then nothing for two decades.

I recently sampled a couple used Eric Claption CD's that I stumbled on, all of them from the 80's. And although they all brought back memories -- the material sure didn't hold up like I was hoping (not that I really thought it would really hold up all that well in the first place). Didn't buy any of them, and I'm not at all sorry I didn't. Edit: Yes, this thread is from one full year ago. (I dug it up looking for something else. Amazing what the search function will find sometimes, eh??)

For what it's worth, I found a used copy of this in the $1 CD bins about 6 or 8 months ago. Didn't care for it the first couple times I listened to it (especially in the car, for some reason), but I've had it on one or twice more around the house, with slightly better luck. (Easily worth the $1 that I paid for it, but probably not worth a whole lot more than that -- if you know what I mean.)

OK, everyone here, from this point forth --- if you ever get the chance to meet Sam Rivers in person... ...please thank him for kicking Stanley Crouch's ass.

Fuck, I just noticed Cat Shatner, the Red-Nosed Raincat. Edit: Doesn't he need a nose that glows slightly??

Anybody heard this one yet?? I'm totally diggin' the on-line samples at CD-Baby. Gonna have to pick up those two Hewitt discs sometime. They they only two that're out so far?? I understand from skimming this thread, and a couple other things I've found that there are a small few other recordings of his that will see the light of day, someday. Oh, did he ever record as a sideman on anything?? Looks like there's one Hewitt cut (with horns) on this VA release...

Yeup, that's that one. This is the disc Spontoonious brought over a couple months ago.

I'd be curious to hear more about the instrument "sort-order" norms for discogs. I'm assuming this is refering to the order in which instruments are usual presented in static (printed) discography entries.

But then sometimes we asked obscure questions, and get quick answers back -- even the same day. I know, not that often (once in a blue moon maybe). But I remember one time starting a thread about this obscure BN title from the early 90's (with an orchestra), and I got a pretty good response from Tom in short order, like in less than an hour. But then the usual was hit-n-miss, most of the time.

I've only heard bits and pieces of this one, but what I heard I immediately liked. I understand that there's two different CD releases of this and one is apparently preferable to the other. Can anyone comment on this?? The earlier CD issue (circa 1992) is the complete session. The "Collectables" issue (from 1999) crams two albums on one CD, and cuts a song or two from one or both dates (one tune is definitely dropped from the Hasaan date, I know that much). I haven't heard the "Collectables" issue, but I can't imagine the sound was better than the earlier single disc issue (which sounds good to me). Most of the "Collectables" dates I've heard have been less than wonderful, mastering-wise. Might be a Japanese issue of this one floating around -- but I'm rarely the one in the know about such things. I got mine at half.com for only like $5 or $6 (plus a couple bucks postage), but now the only ones there are all priced crazy at $30 and $50 a pop --- OUCH!!! And shit, they're all between $25 and $42 at Amazon.com's used marketplace too. WTF??? I know I saw multiple cheap copies on-line 3 or 4 months ago, mostly in the $10 to $15 range. What happened??