king ubu

friggin' Fricsay's frigidly freckled fickleness!

only had one of them, gave it away without even bothering to compare ...

Not sure if this re-packed one has been mentioned already: Guess it'll contain the same music as the old version, no clue if the very good booklet will be included or not. http://www.amazon.it/Complete-B-H-Verve-Holiday-Billie/dp/B00CN7YTV4/

Just in case there are also two separate rather recent Japanese reissues of the albums - agreed on Sangrey's summary, enjoyable stuff!

The McCoy is mighty good! I knew much of it beforehand and knew so much of the Mulligan (all but the Annie Ross and the unissued material) that I still haven't really explored that one ... but it is nice to have all those fifties Pacific sessions pulled together in one place.

I've been wondering if the Fresh Sound one is as nicely done as their Nocturne box ... but the price it goes for is usually nearly twice as much. Couldn't make up my mind and don't have the music at all as a result Guess I got to change that!

Happy Birthday!

http://www.audiophileimports.com/shop/product.php?productid=22580&cat=280&page=1 http://www.audiophileimports.com/shop/product.php?productid=22581&cat=280&page=2 not sure if this helps ...

No worries, if you want to hear it, it's all there in your interivew! I'm far from the biggest Shipp fan around, but exactly because he comes across like this, I did enjoy the read so much! I'm firmly in that camp, too!

As far as I know Fresh Sound was an RCA licensee at one time, and those releases were (are?) legit. No idea what the current situation in Spain is, with Sony now owning RCA. Okay, good - so Pujol did get some tapes there

To my best knowledge, Avid do their own LP tranfers, yes - and I guess sticking to LP contents is a rather logical consequence of that (sure, they could have hounded for the three ten-inchers as well, but then the 2CD set wold need to be called what? "2 LPs and 3 not-quite-but-still-LPs on 2CDs?" ). I'd really wish for some good Tony Scott packages of all that material. There's not much more than a few Fresh Sound reissues (and those RCA thingies also from Spain and marketed by Fresh Sound/Blue Moon .... never quite understood if those are more legitimate than Fresh Sound or what).

Yeah, well, if Joerg's a good promoter/supporter (and not just a smart business person), he should try and place such stories, maybe, rather than hitting the face of the youngster (and damn, I said it in 2001 and I still say it, she's a darn fine drummer) that does get a story. I found Tsahar's reply mostly very moderately and sensibly worded, I was kinda expecting a shitstorm but not there (and I don't like Tsahar's music much better than Ware's so that's nothing to do with my perception here).

Thanks! Never cared much about Ware, so was totally unaware of these on-goings ... some nasty stuff!

Very good read, Clifford! I really ought to check out somre more recent Shipp ... I've got much of his Hat output but that's just about it. Some catching up to do!

Anthony Braxton / Taylor Ho Bynum / Gerry Hemingway - Willisau, 1 September 2013 couple o'bad snapshots:

Thanks AH for your further explanation. I can see your point, but - similar to Bigshot - I can't quite see what boxes you're considering the "bad" ones. If HHeifetz and Arrau and Fournier and Richter and Milstein and Rabin and Gould and Schnabel and whomever have recorded mostly bad stuff, I could easily agree with you, but as to my ears they mostly recorded very good to great stuff (with a dud in between sure), and as you were making the point of comparing (which I really enjoy doing), I still don't quite understand what you're talking of. In youw world, there must be many boxes I'm not familiar with. I mean, okay, it will take me a while to make my way through the Rubinstein box and what I've heard of his Beethoven sonatas isn't really great - but as I adore Rubinstein and thoroughly enjoy lots of what I've heard of him so far, it's definitely interesting at least to also hear his approach to Beethoven sonatas, no matter if they're great or bad (I'd say they're not bad, but nowhere close to those I really, really enjoy: Schnabel, Kempff, Solomon, Gould, Gulda ...). Similarly, it will take me ages to get through the Furtwängler box and through plenty of others, but really, I don't know what all these bad boxes are supposed to be. There are however boxes I'm not in the market for, which include those Mercury boxes, as well as the recently announced Erato, Teldec and Das alte Werk boxes .... but not knowing much of what they contain, I just say: they're not of interest to me, the names and pieces included don't pull me in (while I did go for the Baroque box by DG, which again may contain some duds, though honestly I've not heard any "bad" recordings in there so far). There are others, performer based ones, I'm not interested in either - but I'd not call them "bad" just because I'm for instance so far not a big fan of Karajan's (and I can't see that change). Anyway, there's just too many angles in it all for me to make such simplistic statements as "most boxes are bad because they contain mostly bad stuff". I'd really be interested in you listing a few of those bad ones, just so I can get a closer idea.

If you like piano (and piano trios), the Pieranunzi might be to your likings, too!

I can of course see both sides, too ... and other sides and many in-betweens - it was mainly the univocally put opinion in post #10 that prompet my reaction. That's where my "no easy way out" was pointed at. Now surely not all boxes are of value to all listeners ... some don't like boxes because they lose track of single albums/pieces "lost" or "hidden" in there (and I can relate to that part as far as my jazz listening goes - there are many Mosaics I don't take out of the shelves nearly as often as I should), others might just not be interested in this or that artist (like, I don't feel I need the Reiner box, nor do I need the Van Cliburn box - but again that may change and I may regret having bought some stuff in the future, who knows), and of course you get parts you won't listen to at all, or maybe once only. But then again I really like exposing myself ot unknown stuff, music I might just not have encountered otherwise (or I might have encountered it in some years, who knows). I don't like having too many plans - sure, I make them, but I keep changing them, tumbling them, throwing them out, replacing them by the next one, knowing that won't hold for long ...

Also the Williau concert that did took place, ten or so years ago, released on Intakt. Too bad the repeat is not going to happen. I wish Cecil all the very best, but what I read did sound pretty darn worrying!

Don't think so ... browsing through it (it's a splendidly done set, but holds no real discography, all info is spread on the back sides of the thick cardboard-pages holding the discs) it doesn't seem to contain anything unissued. But it has all the tracks from "Just Walkin'", the overdub versions of the Half Note tracks that appeared on "Willow Weep for Me", the actual versions that appeared on a double LP called "The Verve Small Group Recordings" plus one cut each that first appeared in Japan (on "The Complete Smokin' at the Half Note Vol. 2") and one from the 2CD set "Impressions: The Verve Jazz Sides". I mainly bought this to get "Further Adventures", but I also never had "Tequila" and "California Dreaming" before ... and I love these Hip-O-boxes, they're very nicely done. But I guess if you have the music already, you don't really need it.

Paul, I guess I should have quoted AH's post, sorry. It was the tone of his, not of your post, that bugged me into answering. Sorry 'bout that!

Not sure, but yeah ... maybe. If you want accessible (comparatively, that is) Taylor, look for "Love for Sale" or "Jazz Advance" or "The World of Cecil Taylor" and go from there. I was lucky to catch him in duo with Tony Oxley a few years back, but I'd have absolutely loved to see him again! Willisau is still pretty much okay as a festival, I think ... but the main thing is people like Taylor or Ornette are much too expensive for those festivals where their music would actually fit in (there are two of these in Zurich alone) - and I'm not complaining, these giants are entitled to do whatever they wish.