Rooster_Ties

Yup, Woody's definitely the main reason to get this one.

It's got Woody Shaw on it, so how can you NOT get it???? Frankly, I like the good parts of "Reach Out" (which are about 65% of the album), as much as anything on "Thinking of Home". I'd probably give "Reach Out" 2.5 stars (out of 5), and "Thinking of Home" 3 stars. It's a decent (if not "incredible") album, and well worth it if you're already much of a fan of Woody Shaw. Woody plays well on it, I think.

Well worth picking up cheap. Two of the cuts are pretty weak, but the other four are fairly strong. I think I paid like $10 or $12 for mine, and I'm sure I'd do the same again today, knowing what I know now about the album (meaning, having heard it a couple dozen times before). Depends on how cheap, or course, but anything less than $12 - and I'd grab it.

Heading out now to get the Harry Whitaker disc w/ Woody, if it's still there (was there a couple months ago). Also, some mo' AMAZING Woody Shaw to be had on Stanley Cowell's "Brilliant Circles". Yeah, yeah. yeah - the sound quality sucks (don't we all know it - what the hell??), but Woody in particular, is blowin' has ass off on this disc!!! And what a line-up!!! Stanley Cowell, Woody Shaw, Tyrone Washington, Bobby Hutcherson, Reggie Workman, and Joe Chambers. Piss-poor sound quality or not, this is probably one of my favorite discs with Woody Shaw (top 10, we'll say). Interesting that as small as Tyrone Washington's recorded output is, nearly 1/3rd of it is also with Woody Shaw. ("Brilliant Circles", Tyrone's own "Natural Essense", and Horace Silver's "Jody Grind".) As a front-line, Woody and Tyrone Washington were quite a pair. Yeow!!!!

Just pulled the trigger. Thanks for the head's up on the price reduction!!!! ========== Rooster - Thanks for your order with CD Baby! This is just a happy automated email to let you know a real person will email you as soon as your package is sent, and you will also receive a paper receipt with your order in the mail. Please save this email in case you have any questions about your order. ** NOTE: if any of the info below looks wrong, please hit REPLY now to let us know! ---------------------------------------- ORDER # 304XXX - Monday, August 25th 2003, 07:19 - (PLEASE READ!) 6 of: ORGANISSIMO: waiting for the boogaloo sisters ($10.79 each) =10% DISCOUNT! SHIPPING: $0.00 GRAND TOTAL: $64.75 - US Dollars. SHIPPING ADDRESS: Rooster Ties Kansas City, MO ---------------------------------------- IF ANYTHING LOOKS WRONG, PLEASE REPLY TO THIS EMAIL AND LET US KNOW! Or you can always call us at: 1-800-448-6369 (California time) THANK YOU!! CD Baby, the cutest little record store on the web 5925 NE 80th Ave - Portland, OR 97218-2891 phone: 1-800-448-6369 email: cdbaby@cdbaby.com http://www.cdbaby.com <--- new CDs added every day!

wow.......... ( )

By all means, get it!!

THIS IS VERY IMPORTANT. WE MUST FIGURE OUT WHO PLAYED ON THOSE CARTOONS!!! I AM NOT GOING TO LET THIS GO UNTIL SOMEONE SAYS WHO.

It's been over two years, and the guy hasn't been on any recordings (that I know of) since then?? Based on those first two BN's, I'd preorder any CD he releases, without as much as a sample first.

Oh yeah, I remember that!!! Ahhh, those were the days!!!

Thanks Chuck!!!

PS: Be careful - I think there's also another "Mark Shimm" out there in the jazz world -- note the extra "m" in his last name. Might even be a sax player too, if I remember right. (Something from a thread on the old BNBB.) If I remember right, somebody saw something they thought was by Shim, on "Shim Records" no less. But it turned out to be Shimm on "Shimm". ...or, rather, your typical "flim-flam, Shimm-sham"!!!

Two really strong Blue Note albums, in '98 and 2000, and BLAMMO - nothin' else since (at least not that I'm aware of). What's the deal??? He was one of my favorite young tenor players of the last few years, and sounded like he has/had a TON of potential. Killer fat/full tone, with great restraint, and his solos told stories. Not a "Joe Henderson" clone, but definitely out of that mold. Where you at, Mark??? We miss you!!!!!

OK, Jim. You sold me. Actually, “Free For All” already half-sold me on this one back in late July (at least on paper he did), but your additional high-praise of Harry Whitaker's BLACK RENNAISANCE has convinced me I need to get this one - come hell or high water. Never heard it, and I have no idea who Harry Whitaker is, but any Woody that’s THAT good, has to be something that I need to have. If there's still one in stock at my favorite shiny-disc emporium (and there was as recently as a month ago), it's as good as mine within the next 72 hours. Thanks!!!

I actually saw this one here in Kasas City not too long ago, perhaps as recently as 18 months ago. Strange!!!

You're killing me, Jim.

This is a little out of context (here's the thread where it came from originally: Conservative Cowards), but I think this post needs to be seen by some more eyeballs. Jim. Let me, for one, say how much I appreciate your hard work with this board. I, and many, many others really appreciate having this forum for all our discussions. You da man!!!

VERY cool!!! B) B) B)

What the hell was THAT??? Eeek!! It was even on BLUE NOTE!!!

One picture is worth a thousand words, unfortunately... If THIS one creeps you out (and it does me), find the original cover for the Rosolino "Kenton Presents" side on Capitol. Brrrrrrr... Never see it (the Rosolino "Kenton Presents" side), anybody got a picture of it to post here??????

Yeah, what's the time-table on this. I was talkin' this up at a club just last night, and hated not being able to tell people even any hint of when this might hit the streets. 6 months?? One year?? Hopefully not any longer than that.

FFA, you're right "Impact" is the one you're thinking of. In my mind, one of the greatest post-"big-band"-era big-band recordings, ever!!! Nearly the same thing (or at least in the same ballpark) with the first one, "Music Inc & Big Band", to my estimation.

Flash to 1989/90. My first exposure to "Nefertiti" (and "Sorcerer" too, for that matter) -- were among the very first full jazz records I ever heard, after I had taken a Jazz 101 music appreciation course during my (was it?) Junior year of college. I didn't really get bitten by the 'jazz bug' (yet) during the course itself, and not for several months after. I think that the only full jazz LP's I actually listened to that semester, were a handful of Sun Ra LP's that my uncle had, plus what few Ra albums I could find at the college radio station. (I did my final paper for the class on Ra.) I didn't know shit (yet) about classical music (and especially not about 20th Century classical music) at that point, to say nothing of my total lack of experience listening to jazz, so needless to say, I approached the Ra material with VERY wide eyes. But I digress... It wasn’t until about 6 months later, when a friend (who was a little deeper into jazz than I was, who was also in the same class) offered to make a tape for me of KoB, and "some other cool Miles" on the b-side. I said "sure!!", and the tape I got from him had "Nefertiti" on the b-side, with the opening track from side one of "Sorcerer" tacked on the end (the 'bad-ass-tune-if-there-ever-was-one' tune "Prince of Darkness"). During the summers, and during breaks, my buddy worked for this really hip used CD store up in Chicago. So he had these two (Nefertiti and Sorcerer) on CD from JAPAN - and only come to find out later that neither one had been released in the U.S. on CD by that point. (Those were the first-ever Japanese CD's I had ever seen, now that I think of it.) Anyway, I played that tape (KoB/Nefertiti) over, and over, and over, and over, and over, and over, and over, and over, and over, and over again - probably 75 times in first 50 days, and 100 times in the next 50 days!!! Put it on as my live-in-girlfriend and I went to sleep, and when we woke up ---> so it was on all the fuckin' time (and all the fuckin’ time too, as I recall ). But I digress... Didn't hear (or even hear of) Wynton, or VSOP, or any of that stuff until at least a couple years later, long after I had already gotten a good-sized dose of the real deal first (thankfully!!). But even back then, as I started getting more tapes of stuff like "Miles Smiles" and "E.S.P.", I was totally struck at how late 60's Miles (prelectricity) just DIDN'T register on anybody else’s radar in my circle of music-friends. Like NONE of the other 'jazz-heads' in college (musicians, mostly - though I was never a jazz musician myself), how practically NONE of them were even barely aware of this shit. They were all about Parker, and Clifford Brown, and Monk, and Coltrane, and Mingus, and pre-1964 Miles - especially stuff like "Milestones", and "Miles Ahead". THAT was the hip shit to them, and 'mid' and 'late' 60's Miles was still just "weird shit" to them, by and large. Art Blakey and the Jazz Messengers was the blueprint to them, and "Nefertiti" didn’t fit that blueprint, so they didn’t know what to make of it. Same thing with the relatively young director of the jazz program at this college (small liberal-arts college in upstate Illinois), and he was barely 10 years older than we were, so he was like in his early 30's I think. He loved "classic" late 50's jazz, and that's what the program was all about (seemingly from all the tunes ever played by the college jazz combos, in concerts or in the one bar in town that would host a regular 'jazz' night (Thursday nights), with mostly college students playing, plus a few cats from town (SMALL town - 35,000 people nothin' even the slightest bit bigger for well over 60 miles in any direction). But the really "hip shit to him (the jazz program director at the college), was stuff like The Brecker Brothers. Yeah, that's right, 'jazz-funk', along with a little nasty 'jazz-fusion' was what he sorta thought was the really hip shit to talk about, when anyone wanted to know about "where jazz was really going". (Or at least when jazz was still 'going somewhere', which in his mind - it no longer really was. He was clueless about M-BASE I think, for instance. Or when I brought some of that up to him, he nodded, and said "yeah, that stuff's great", but didn't seem to have any real idea what it was.) As I recall (and/or as near as I could tell), he could appreciate "Bitches Brew" and "Jack Johnson" on some level, and he really liked "Nefertiti" and "Sorcerer" in a sort of academic way. But it was like that music was on some creative plane that was outside the 'space-time-jazz' continuum for him. Come to think of it, I think "Fall" was the example that he used of that band, for the listening material in that "Jazz 101" class. Now "Fall" is a beautiful tune, but that tune (and that tune alone, in a vacuum) sure as hell doesn't give anyone any kind of idea about what that band was really up to. I think maybe he was afraid something like "Riot", just might start one. Come to think of it, though, if I ever taught a jazz course today (which I'd love to do someday!!!!), I'd love to play the early Miles version of "Round Midnight" from Milestones, and then play the live version of Miles from November 6th, 1967 - as a way of contrasting these bands. But I digress...

Holy cow!!!! Wish I was in NY too!!!!