Rooster_Ties

By the way, this refers to the physical storage of already manufactured CD's. As I understand it, the corporate parent company charges back Blue Note for storage "costs" for titles that have already been manufactured. "Blue Note" is just considered a different "cost center" to the parent company, and they apportion their storage costs to every cost center. So, if a title isn't selling sufficient numbers, then those ongoing storage costs have to be considered an "expense" from the perspective of Blue Note (even if the storage facilities are long since paid for, and are actually owned by the parent company – meaning they probably aren't actually leasing the storage space, but they are "charging" their subsidiaries as if the storage space is leased). I think this is why the whole Fantasy (OJC) catalog mostly stays in print for so long (except for their "limited edition" titles), since Fantasy owns their own storage facilities, and don't choose to record "losses" (expenses) for the storage of slow-moving titles.

I don't really have a dog in this fight (and I've never owned or even heard a JRVG before), but I seem to remember reading somewhere on these boards, that all of the future JRVG's (the one's with the bonus tracks and alternate takes), would be the same masters used for the U.S. RVG's (and vice versa). Now whether I read this from a reliable source (or not), I don't really know. But I know I've read this before, maybe even a couple different places (maybe here, and also on AAJ??). (I own several TOCJ's, but I've never gotten on the JRVG bandwagon. Mostly because most of my TOCJ's were obtained several years ago, and since then I've been much less interested in paying the extra cost of getting Japanese issues of titles. That, and I dislike the mini-LP packaging format.) Anyway, Chuck's definitely right that there have always been different masters for the JRVG's and U.S. RVG's (for the very same session). BUT, whether this will be true for future U.S. RVG titles, is still an open question. Edit: For the record, I could generally care less about most remastering issues, RVG's vs. JRVG's, vs. TOCJ's, vs recent McMasters. I just want the music, and I want a decent remastering of it - even if it isn't the very best version (which is usually open to argument anyway). It's the music that matters to me - far more than the remastering.

Please post more, and lurk less. Word!!!

Is ANY 3 CD set really worth this???? ($300 minimum bid, $450 buy-it-now) I'm not familiar with this set. What's the deal???

I've never sold anything on eBay before, so I probably don't really want to know all the technical details about how this is done... But how in the heck did this guy make a pop-up dialog-box appear when you bring up his eBay auctions??? Or at least THIS ONE has such a dialog box. OK, I checked, and it's every item this guy sells. They all trigger the pop-up box. Items for Sale by 10p.cd Weird. I wouldn't have thought that someone could have embedded something into an eBay auction that would cause a dialog box. I know that other sites can easily do such a thing (when the site itself causes the dialog box), but I just didn't figure it could be done through an eBay listing.

Jazz, you might try looking in the phone book under "Cost Plus World Market" - which is, I think, the full name of the store. (Look under "C".) What major city are you in?? (World Market has a "store locator" on their website, by state, if that helps any. I think I gave the link up early in this thread.) I finished off my first box of Ginger Altoids last night, so I stopped by the World Market here in Kansas City (the only World Market in Kansas City). They only had SIX boxes left in the whole store (meaning the regular size tins, about $2 a tin), so I bought all six of them!!! I can see I might have to get my next fix from some on-line resource.

Mostly, yes. The album kind of 'drifts around' for my tastes, but I'm not really a big Blues nut either. However, the vibe here is real and fairly deep, and nothing seems forced. I seem to remember liking the uptempo tunes best. (Haven't heard it in 3+ years, but oddly enough - it's in a stack of CD's not 3 feet from my computer -- for reasons I have no earthy explaination for. Why it's there - I have no idea. Guess that means I should give it a spin!!)

I would guess that there are probably 50 to 100 (or maybe more like 200, at most) threads worth saving from the old BNBB. 80% to 905% of what went on there probably isn't worth saving, or ever looking at again. But if I could go back and cherry-pick specific threads, I'm sure I could find a bunch that would be great to have access too.

The Hot Spot [Original Soundtrack] - with Miles, John Lee Hooker, Taj Mahal, et al.

Of course, my first question should have been "Who's Milt Ward???" I don't have the 'Tom Lord' discog, the but on-line session totals for Ward only list a total of 2 dates (Source). He appears to be on this Fathead album too... Also, I found one other on-line reference to the "private pressing" album in the auction... Would appear the "label" is something called "Twin Quest" maybe?? Description is "fusion"-ish. Here's the back cover...

Just stumbled on this eBay auction (HERE) and this looked interesting, or at least curious. As obscure as this is, I'm going to cut-n-paste the auction info and images into this thread, since lord knows when anyone is likely to ever see one of these again. I have no idea who Milt Ward is or was. (I was just doing a search on "Charles Tolliver", and got a match on this item, from Tolliver's name in the description, although he isn't on this date.) What's the story on this?? Is this listed in any of the heavy duty discographies?? I don't plan to bid on it, but being that he's a trumpeter - and that this is described in the auction as being "Avant-Garde" - I couldn't help but be curious. (Although who knows if that description is in any way accurate, or what the heck kind of "Avant-Garde" it really is.)

I've got no real system. I donit have anything in alphabetical order so my Massey Hall is right after Parker and right before Gillespie, since they are side by side. B) I've always filed Massey as if it were a Parker album. The recent "New Directions" disc on Blue Note is filed under Osby (the one with Osby, Moran, Harris, and Shim all as sort of co-leaders). I find some way to pick who the functional leader is (or could have most logically been - if there's any question), and file it under that guy's name. For true "various artists" discs, I ususally put it where I feel like it at the time. If there's one or two cuts on it that I like above all the rest, I'll maybe file it under one of the artists for one of those cuts. Or all stick it at the end of the alphabet, after "Z".

Major categories are... Jazz Classical Rock/Pop And, I have the Jazz split into roughly two subcategories: Jazz my wife will listen to without giving me a dirty look. Jazz my wife will surely go into a flying range over if I try to play it in her presence. The former category is limited to piano trios, solo piano dates, and piano trios with non-horn instruments (vibes, guitar, flute, etc...). My wife dislikes saxophone (and hates clarinet), and she doesn't care for anything but fairly lyrical trumpet or trombone playing. Oddly enough, she can stand ballads by Charles Tolliver, and Lee Morgan's more lyrical stuff (ballads, and his entire "Standards" album), and also sometimes ECM-ish recordings by Kenny Wheeler and/or Tomaz Stanko (at low volume levels). Anyway, there's about 40 or 50 discs I have that she's "OK" with me putting on, and sometimes it's just plain simpler to have them all split off from the rest of the herd, when I'm looking to put on something that she won't tell me to shut off. I've been thinking about splitting my classical down the middle too, into stuff she'd be OK listening to (pretty much anything composed before 1900, plus neo-romantic 20th Century works), and all the modern stuff I love that she doesn't care for. However, that would require having a "wife" classical section that was a whole lot bigger than just 40 or 50 discs. Still, I may do this sometime, just for the heck of it. I think she's tired of wading through hundreds and hundreds of classical discs she doesn't like, just to browse through the hundreds that she does like. Actually, most of the times that she's looking for discs to take to work with her, she asks me to pick out ten discs for her, so she gets some things she's not as familiar with. (I think we have about 1,500 classical CD's.) PS: Within Jazz, Classical and Rock/Pop, I typically sort by artist, and then try to file the discs chronologically. I have a small handful of discs that I don't file by the name on the spine, but rather the name of some major sideman - if it's the main and/or only reason for owning the disc.

Two pianos I'm assuming?? Or piano four-hand?? Or both?? Wow, I woulda given my right arm to hear this show. I love Hill's solo piano work, and Jason too for that matter.

Just for variety (since I hardly ever hear it), I rather like valve trombone. Have there been any significant valve trombonists in the modern era?? (Meaning recordings made roughly sometime in the last 40 years???) I know of a guy up in Chicago (Ryan Shultz) who's main axe is bass trumpet. He's probably in his 40's by now (mid to late 40’s, I’d guess). The few recordings I've heard him on (and hearing him live once) have really made me wish that more guys took up the bass trumpet... ...and I'm sure my attraction to it would be the same as for valve trombone (and for the same reasons). Any recommendations of recordings since 1960 that feature value trombone??? Much appreciated, if such animals do actually exist. My impression also is that value trombonists are rather looked down upon, since it's gotta be a WAY easier instrument to play, in terms of tuning and intonation. I’d also be curious to hear Free For All’s opinion about value trombone. Does he, by chance, happen to own one?? (And if so, under what circumstances does he have any reason to even play it??)

Hmmm.... Interesting....

Well, I guess I probably meant top-drawer, or next-to-top-drawer. I mean, at least to me, I've never heard anything he recorded in the 60's that wasn't amazingly "on" - meaning every cut of every album. But it's probably true that there are probably different degrees of "amazing" when it comes to Joe.

That's one of the reasons I always try to request interesting tunes, when I encounter what I think are real jazz musicans playing under less than ideal situations. For instance, my wife and I had dinner at the Kansas City art museum on Friday. They have an indoor courtyard with a fountain, in a big space that has quite an echo to it. They normally book just two or three instruments into that space, never with drums. (And no piano ever, either.) Usually it's just an upright bass plus guitar and/or sax and/or vibes. So the group in there on Friday is sax/guitar/bass, and they're playin' mostly Xmas carols and fairly run-of-the-mill standards. But they're not half bad either. So I ask 'em if they could either play either Nardis, or Beatrice, or Footprints. They didn't think they could manage either of the first two, but they gave Footprints their best shot - and turned in a FINE redition. Put $3 in their tip jar for it too. Doesn't help much, I realize. But at least they knew there was one guy out there who was listening.

Yeah, but where's a more recent picture of you, Berigan?? (Or are ya afraid your mug's so ugly, that it'll break the board!! )

I figured you'd have that cat on your lap...

"Funktastic!" works for me!!!! Slight modification... "Funktastic!" is good, but it needs another exclamation point. Gotta be: "Funktastic!!" - you dig!!!

If only it were " B) ". .

"Funktastic!" works for me!!!!

Veteran Funkateer

I can't stand it any longer. And the answer is....................