Rooster_Ties

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Inquiring minds demand some discussion of the audience “noise” and the quality of that announcer’s voice (more specifically, what that ‘space’ sounds like that his voice was recorded in), etc. Was this really a real live recording at the Domicile, with a real audience? Or live (there), perhaps with a timid/tiny audience — but then with “faux-audience” sweetening + announcer added later? Or even “live in a studio” somewhere else, perhaps with a tiny (well-mic’d) audience? Or just a studio recording, with “audience” and announcer added after the fact? And that reverb on the announcer!!!?? — and on audience too (iirc). It’s all rather suspicious, at least to my ears — BUT, thankfully, the music is brilliant!!

Goodness gracious, what a photo!

I don't specifically dislike Latin Jazz, but I have to confess it's not an area I've explored all that much. I've liked some that I've heard (there was a local group in Kansas City called the Sons of Brazil, that a good trumpeter friend of mine led -- and I have all three of their CD's). But I've not heard lots that's made me want to run out and explore tons more. Rightly or (just as likely, wrongly), my impression is that the "harder-hitting" Latin music is more so "hard hitting" in the mondo-percussion department -- and tons of Latin percussion sometimes puts me off (I accept that the fault is my own, and not Latin Jazz's). I know there's probably some amazing Latin music I'm missing out on -- maybe LOTS -- but I haven't been able to figure out any sort of shorthand way to improve my odds at finding such music that pushes enough of my buttons (and pushes them hard enough) for me to buy with much confidence.

Hasaan didn’t make it too easy on himself, in terms of what will be the obvious inclination to compare/contrast with his debut with Max. I, for one, think The Legendary is nothing short of a near-masterpiece — so almost anything is going to be hard to live up to with that(!) as everyone’s only real touchstone in terms of Hasaan’s writing, approach, and technique. I haven’t gotten a copy of the new one (yet), and only know what I’ve heard from the zoom-cast a couple weeks ago (just two tunes). Plan to lay my hands on a copy in the next month or so, soon as I can find enough things in-stock from Dusty Groove to put in an order of about 6-8 titles, give or take.

Starting in 25 minutes (at Noon EDT).

Yeah, but of all the dates to have been recorded THAT sub-substantially. Not expecting miracles, but something decidedly “noticeably better” might be worth it, maybe (depending on the price-point).

Serious question: does any CD version of Cowell’s Brilliant Circles sound decent?? According to discogs, it’s only been on CD twice (is that right?)... I have the 1995 German Black Lion CD, and despite the material being amazing, the mix and/or mastering is just horrid. A buddy burned me a copy of his LP (and it’s better) — but I’ve always wondered if the 1994 Japanese CD issue was any better. If this is a substantial upgrade, I’d be very interested — but I’ll be waiting for some first feedback before I drop any dime on a new copy.

I think all(?) — or at least many/most of the forthcoming Chick reissues are listed in the “coming soon” area on the Dusty Groove site, including product descriptions (at least for the 2-3 Blue Note reissues). I was wondering about them myself, actually, in terms of what (if any of them) had any material that had never been issued on CD before in any way.

Is this them? http://moosicus.com/releases/

So who wants to edumacate me on like 2 or 3 of the best Grover sideman dates on Prestige?

Bump, specifically on this question again (as yet undiscussed, let alone answered).

Dear lord, that’s truly awful. (Bravo!)

Out of curiosity, does the disc play the same way (same problem) on multiple players? Of if the problem happens on multiple players, does it manifest the same way on all of them? More often than not over the years, when I've had small playing issues like this, the results weren't always the same on different equipment. Not that that necessarily tells you anything, or really "helps" particularly.

Although I’m not super torn about it, I’m afraid I’m probably going to pass on this one. I already have everything except the three (3) truly “previously unreleased” alternates (and I do already have that Japanese SHM-CD of Mode For Joe, including the alternate take of “Mode For Joe” that was previously unreleased prior to 2015 — which is marvelous!!). Much as I’d like to have the booklet, it’s just too hard to justify the cash outlay for just 3 alternates. Not every release I have of all this stuff (all on CD) is probably optimal in terms of sound quality, but neither is my sound system anywhere close to nice enough for it to matter. If there was a fair bit more unreleased material, I could justify it (like *IF* I didn’t already have those precious Unity alternates, and *IF* they were included here — something that important, I’d have no self control at all). But those three (3) particular alternates aren’t gonna change my world or anything. I didn’t bite on the 60’s Mobley set either, and I suspect there won’t be enough new stuff with any sort of Lee 60’s set either. But I’d pre-order a Bill Barron set!!

FWIW, none of the tracks from Basra were penned by Joe — in terms of why nothing from that date was included in the “sideman” tracks ‘extras’ at the end of disc #4. (Everything there is a Henderson tune.)

(and yes, I know it’s a Dylan song)

Cuz when you think “saxophone”, you think “brassy”. (re: the ‘hype’ copy on the back.)

But is it really especially better in any significant way, than the DVD (or just enjoying the audio from the DVD) Plus, isn’t (or at least wasn’t) the basic list price of the DVD a good $10 less than $38? Just replicating the audio of a DVD on vinyl (I’m assuming the source isn’t especially different, and the source for the LP could well have been digital), really doesn’t do anything except float the boats for those who have a fetish for vinyl.

That UK two-fer comp CD is the same one I have — but isn’t there also a different US two-fer comp CD under the title of the first of the two albums (with the Soul Man! tracks tacked on as bonus cuts on the back half?). And I want to say the first date on that US two-fer CD isn’t a trio date, but maybe it has a vibe-player on it? (making it a quartet, still a Timmons leader-date, iirc). Anybody know which one I’m talking about? (I only discovered it after I’d gotten the other UK two-fer). The thing is, I always wondered if that quartet date (the one with the vibes?) was better than Soul Food.

IIRC, I think I've also seen all of these listed on the Dusty Groove site -- can't remember if that was already in-stock items, or if (at the time), it was under "coming releases". Anyway, Dusty could maybe might be a source on these as well.

I really love all the Rathaus discs I own (maybe 5?) -- but especially that one that Chuck was just listening to, which I'd call the perfect introduction to him. Chuck's description of it being "post Mahler" is probably far more descriptive that whatever I might try and say about it. Certainly energetic, but not really spiky per se. Neo-Romantic, with modernist leanings. Here are the first movements of each of the two works on that disc...

My 2nd and 3rd Mosaic purchases (the McLean and Hill) were almost 90% based on the strength and reputations of the sidemen. Point of Departure might have been the only Hill date I had before I got the box (or perhaps one other, at most), and I can’t swear if I had any McLean leader-dates before I got his Mosaic. One thing’s for sure, I was almost a total Hill neophyte before I bought the box (and back then, POD always seemed like a close cousin to Out To Lunch, as much or even more than being a “Hill” album — so much so, that even to this day I can half forget that Joe Henderson is even on POD (if I haven’t heard it in 6 months) — which is saying a LOT, since Joe is my all-time favorite tenor player, and always has been, even back then). And it was the presence of Herbie Hancock and Lee Morgan, among others, who sold me on the McLean set.

I probably didn’t really discover Tina until the True Blue conn in 1994, far as I can remember — or at least that’s the first time I ever took any close notice of him. My very first Mosaic purchase was the Don Cherry BN set in late ‘94 (a bit because of the low price point) — then the McLean in Jan ‘95, and the big Hill box in May ‘95. (Not sure, but the Tina set might have already been sold out by then, or it wouldn’t have been all that much later.) I might have had House Party or The Sermon before True Blue — but I was slow to warm to much organ jazz that early in my listening in college and the first couple years after (my ‘college’ jazz listening was all around 1989-93). Sure, I “liked” organ jazz “ok”, but it didn’t fire me up the way other more horn-dominant dates did. Only Unity really grabbed me back then — but I hadn’t yet heard any other Larry Young, or ANY John Patton at all — and the smattering of Jimmy Smith dates I had all sounded a little too samey-samey. Pretty sure they Tina Mosaic was sold out by the time I got The True Blue conn, or else within a year after, iirc. But then I DID get all the Tina dates, one by one, quick as they came out on CD domestically — and had really warmed to him big-time, from the very start. Not sure when I picked up Open Sesame, but it wasn’t too long after True Blue, or maybe even slightly before.

7-minute story on Fresh Air today, apparently (found out about it after the fact, from the zoom)... Newly Unearthed 1965 Album Represents Hasaan Ibn Ali's Posthumous Vindication https://www.npr.org/2021/04/06/984703269/newly-unearthed-1965-album-represents-hasaan-ibn-alis-posthumous-vindication Seems to include some clips from the album (from the transcript).