king ubu

I can relate to better albums/better player very well indeed. And to "ways of saying"/"things to say" as well. Favourite album, pressured to name one (that is, one besides "Somethin' Else", of course ) would probably be "Nippon Soul" or "Cannonball in Europe", both with the sextet w/Lateef, which is easily my favourite band of his (though the earlier quintet with Timmons and then Feldman comes close). However, the in-the-pocket groove of the mid/late 60s band and then Cannon's very, very good playing on top ... it took me a while to get to the point ("Live in Japan" was one early exception, "Mercy Mercy Mercy" never did as much for me back then) ... is an alltogether satisfying experience.

But BGO has such foogly layout ... quite a threshold for me (except for stuff hardly possible to get in other forms ... Carr/Rendell, Graham Collier ... most recently Arthur Blythe). I've got - and love - the Mosaic, guess I will stick with that.

Haven't really explored "Radio Nights", but the other two, yeah (though Lloyd - respect and all - somehow always seems like the lightweight version of "deep" to me ... which is an art of its own I guess but not one I'm all that keen on, so far). Also, I've loooong have had a weak spot for this:

But what about Real Gone Jazz? We all know it's a new joint venture by those 2 guys already. They're the 77 albums on 0.3 CDs label, lousy design, sometimes it seems mp3 pressed onto CD, lacking info ... thou cannot get cheaper than that, would be an epic fall from the (partly self-proclaimed) parnassian heights of Resonance. (Edited for lousy typing on lousy remains of phone.)

So the holiness almighty of Resonance/Elemental goes euro pd pee pee now? Or is there nothing you can really tell? Real Gone Jazz (not the same as Dustygroove related Real Gone Music, just in case) would definitely not bother about any substantial booklets (though I agree having the design team of Resonance isn't worth all that much, the design is merely okay at its best).

On that feast of capit'lizm they call Black Friarday: https://recordstoreday.com/SpecialRelease/10461 I guess/hope CD will follow somewhat later?

Popular these days I'm afraid ...

So same "Other Aspects" (silly addition, reducing the really new material to 70 min) or other "Other Aspects"? Why is 1962 part of the title (edit: not of title but of info on rsd site, see link above; disk union says 1964 instead, which is prob. wrong - or it was 1964 actually, and the info on the BN CD is off?) - 'cause of previously released Aspects? I'm already not that enthused about this release, that is for sure. And Resonance should cut their hyperbole, big time!

Excellent disc indeed!

Hm, seems if they left off the bonus track (they could hsve added one more to the first Dexter disc, after all, ix it's thag good), that Haig portion would have fit in .... too bad! Either, good news ... has me wonder if Elemental is a 2-musician-reissue-label though

Up to 32+ minutes per side ... high quality vinyl? Details: https://recordstoreday.com/SpecialRelease/10435 I'll gladly wait for the CD. The ca. 155-160 minutes playing time, so neatly matching two CDs (I know that could go into 170 min by now) has me wondering though if we really get *the* comprehensive package here ...

His br'er's nut? Not sure I need to know that Other than that fantastic news!

So 15 or 16 new Art Ensemble albums? Now *that* would be a feast!

Certainly to me as well, but that's the ethical/moral point of view. I was wondering about the legal one. And different question: at least with European labels (which Gearbox is, yes?): doing the right thing would include more than a deal with the Monk family ... sidemen/heirs, composers etc. Even if it's all PD. My guess would be when doing it "right" in Europe that would normt extend beyond "deal w/Monk family" usually (and even that isn't usual of course). Either way, slippery slopes galore ... which was what led me to wonder about the purely legal perspective in the first place (not saying "legal" is "right", but I think I have said that already).

Saw this in a store today, here in Udine (rather: the corpse of what must have been a fine store once) ... and wondered: so this hasn't been around previously? No previous boot or PD (as this is I guess) release? (Ah, Monk family nodded approval ... from a purely legal point of view - which isn't one we ozght to take all that often, but knowing it may help): does that make a difference?)

"Ahmad's Blues" (though I've passed it on by now, same for "Cross Country Tour") is definitely still one of the most played discs of ny life! Glad to have the Mosaic, but for many years that disc gave me the Jamal fix whenever I needed it ... tremendous stuff!

Thanks @Ken Dryden! I'm not long enough in the game to know such details (started buying Mosaics about 20 years ago, when I found out about them by reading a review of the Tristano/Konitz/Marsh, which was the first I got). So while I did get some older ones (including the Stuff Smith ), I had no one around to tell me how this all worked (most of what I have learnt about the record business I have learnt from you good guys here).

Can't post a review after one listen ... but I enjoyed it a lot. The orchestral textures and stuff are intervowen with the quartet, this is not your typical "with strings" date - but then with Shorter that would have been a bad surprise anyway. The quartet date (less tahn 80 minutes spread over two discs, no clue why) is fantastic, but that's no surprise after the other albums by that group (of which I think "Without a Net" may be the best so far). The graphic novel is, well ... quite nice to look at, but the plot is a bit on the silly side, but then it's a superhero story, so what else to expect ...

Yes, but other Verve sets such as the Kid Ory were around longer I think? Those, the Ory and Stmih, came before the times when in Europe Universal would sell their own share of the edition - not numbered and with a different catalogue number on the spines, but they said part of the total edition of 5000 or 7500 or whatever it was, too ... that was done for Farlow, Q, Eldridge I think, Nelson, Dizzy and several others ... with that collaboration in place, maybe license periods got a bit longer? I'm just saying that in my 20+ years of buying Mosaic, a set released 2-3 years ago was considered "new" until quite recently (I lagged behind for a long time, buying previously issued boxes and often delaying the acquistion of new ones until the hit the "running low" list ... I did change that eventually, but I missed out on the Dinah and Poppa sets, but have been helped out with both )

3 years? Was the agreed upon period really that short for sets at that time? (Or just for Universal-owned stuff sets?) Seems awfully short!

That's exactly what I did I read bits here and there and am looking forward to reading the whole thing!

Thanks for the alert - too much to read on the screen for my liking, but I'll have a print-out with me, on the long train ride to vacation in a couple of days

Norris Austin anyone? He plays on three of the seven tracks on Fathead Comes On, including a very catchy tune of his, "Cellar Groove". Newman revisited that tune 40 years later and it can be heard as the opener of his album "Davey Blue" (HighNote), which alas I don't know. A New Orleans soul jazz group (?) that calls themselves "The Prime Ministers" has also recorded the tune: https://www.discogs.com/The-Prime-Ministers-ReadEm-And-Weep/release/10337217 Could that 1965 album be some kind of lost gem, I wonder? (The credit doesn't turn up via discogs, I found it on Allmusic which lists composer credits for that platter) Next, and final (?) piece is another tune, recorded on the Jazzland album of Joe Alexander's, "Brown's Town": https://www.discogs.com/Joe-Alexander-Blue-Jubilee/release/6075891 Alas, I don't know that album yet (Fresh Sound has reissued it though). I can't quite read the print on the cover scans on the interwebs, but there's no backcover liners and the text on front only boldens (large caps, that is) the sidemen, not sure there's anything on the composers/tunes, the text is fairly short after all. So, who was (is?) Norris Austin? How did he end up with David Newman on that album? A Texas homeboy? Maybe also a nom-de-plume? Anyone?

Niceoroony! :-)

Amazing set! Wouldn't be willing to part with mine