king ubu

Thanks - sounds good enough!

You're welcome, but remember that the internet was the friend who first introduced you (and me). So...the internet is still my friend, and now it's the friend of Cherry Red Records www.cherryred.co.uk as well! So it's a vinyl rip? Legit? I think last time I asked about Cherry Red being legit or not, I got beat up by those who seem to know better, but the 'teefski I got (my lone Cherry Red) definitely screams "PD!" in my face, so ... but then Syreeta's album isn't fifty years old yet, so ... what do I know, I will just get it.

Mighty fine album ... I guess after all, the internet isn't my friend any longer in this case! Thanks for the heads up!

Very sad news.

Late again ... all the very best, Guy!

Contrary to above opinions, I enjoy Ogdon a lot. But I guess best is Sofronitsky (to be found on Brilliant, I've got his 9CD set, but it can be found on a larger Russian pianists set, too). Also enjoyed some of Horowitz' playing, though with him I'm never quite sure what to think ... And the Ashkenazy set mentioned at the beginning I enjoy, too.

The more you dive into serious discography like I do, the more you care for accuracy of information and the less for looks. Have you ever worked with an interrelational database like BRIAN? The advantages are so many that the looks become secondary. Precise information is what is important. Any funny layout corrupts the display of the data. Start working with BRIAN, and you will get the idea. Once you do it will save you lots of time. I('ve got to) work with similar programmes at work ... I can fully endorse your point of view, but still I find the layout of those discographies rather cumbersome, I'm afraid. But obviously they're a great source and the best around on the internets!

Yes, but they still do look ugly ... someone ought to try and create a somewhat nicer design! Thanks for checking and reporting back! I guess that third version then is the only one I've actually got, forgot about it, too!

It seems it's got something to do with the cost of licensing; the optimum seems to be a 7CD-set, I was told sets with fewer CDs cost more per CD and so do sets with more than 7 CDs. Also, licensing stuff from more than one rights owner for one set seems to be very costly. Another factor making the larger sets more attractive is the cost of the packaging and booklets. Obviously, yes! But still, what's the bottom line between 5000 Pres-sets sold within a few years and 2000 larger sets sold within twice as many years? (Storage room would be another consideration to take into account, I assume? Even if they only print a few hundred at the time, those need to be stored.)

(which is why the early Brunswick/Vocalion material by Ellington is out on a GRP three disc set, "Early Ellington", and the Mosaic - again containing the Sony-owned material - only starts in 1932)

That makes sense - but my calculation still comes in in cases where they are able to sell off half or not even half of the planned edition, I think? Anyway, I don't doubt it, I'm just trying to understand!

Also, I don't think the Pres/Basie 4CD box sold out so quickly just because it's Pres/Basie ... it's small, it's considerably cheaper than most. Not sure why 7CD sets are economically most feasible when they time out after less than 3000 sold units and ten years, while a 4CD set is sold 5000 times within half the time. But I was never good in math and have not even basic understanding of economical stuff, so ... yep, shoot me

Sure ... but if I'd trust anyone on Monk, it's Kelley! Can't help with my ears as I don't think I have those tracks at all.

Sheesh, who the hell still cares anyway? I'm with Chuck, I throw in Ludwik Fleck and Erwin Chargaff.

Great news, will be looking forward to this album! Gee, what a moronic sentence: I AM (already, now!) looking forward!

Happy Birthday, Daniel! :party:

Kelly lists two versions: http://www.monkbook.com/sessionography/sessionography-1963-1965/ November 3, 1964, The Jazz Workshop, San Francisco rel. on Always Know (Columbia JG 35720) March 2, 1965, 30th Street Studios, New York rel. on Misterioso (Columbia CL 2416) I'd tend to trust that information. Sheridan gives the very same info (not sure this links actually works): http://books.google.ch/books?id=soVtoCn8pRQC&pg=PA129&lpg=PA129&dq=monk+columbia+Col+JG35720&source=bl&ots=q292_qIpfG&sig=KhXRaBRfZQtJfy2pgp5BQnMmkaE&hl=en&sa=X&ei=526KUPbbLIaytAan-oDgCQ&ved=0CCMQ6AEwAA#v=onepage&q=honeysuckle&f=false

Not sure how much George Lewis I really need ... but thanks for the informations, guys! The Strayhorn looks most interesting, as does the Webster (the later regardless of band or whatever, I just love late Ben, the Dig Ben box is great, even though not all of the music in it is really first rate).

Just bought a ticket for Grigori Sokolov in Luxembourg, Nov. 26 - Rameau, Mozart and Beethoven ... hope I'll be indeed there that day

Wonderful set, so underestimated as a chronicle of improvisation at it's best. Oh yes, it's stunning! I remember how I bought it, was still in high school and in these days before internet and credit cards, I paid well around 100$ for it in a local store (that just closed, and their asking such money for CDs was quite certainly a part in it, though that was regular among music stores here, until a few years ago). Material from the 'Manteca', 'Afro' an 'Diz Big Band' on Norgran/Verve. Thanks! Will have to check some discographies to see if I have all of this. Does the box include the Gene Norman concert in its entirety? (The GNP releases, it seems, omit a pair of tracks!) Now playing disc one of this one:

That looks nice! Would those be re-packings of earlier Storyville releases? And if so, can anyone point out which ones? Never saw any Strayhorn or George Lewis from them, I think!

Just in case, this here's the source of the Zurich photos: http://www.bazillusclub.ch/ Select the "looking back" button on the right and then go for "Africana", third from the bottom - some great pics in other chapters, too! The capture says they're from 1962 (and taken by the host of the place called "Africana" and decorated accordingly).

Yes indeed. I tend to prefer the few smaller and truly dedicated festivals here in Zurich ... but even there you might end up listening to some uninspired rapper backed by some local fellows who think they're doing something really inventive ... the one big festival in Zurich taking place soon has gone that in-people festival route several years back and asks crazy prices for concerts. I only go there if there's anyone playing whom I badly want to see (Dr. Lonnie Smith in 2007 was the last one ... he was - dig that! - playing a free concert, two full sets, two and a half hour of smokin' music!)

Well, in Mach 2010, when he was announced to play one, roughly hour-long set, he started taking requests after some forty minutes ... and played another forty then, doing at least six or seven requests (none of them mine, I had no really cool idea ... last night I'd have wished "Foolin' Myself" I he had asked again, but he was way too grumpy for that). Anyway, my parents joined, and they seem to have enjoyed it as well! And that trio is really, really good, even with a subbing drummer (who did a really amazing job). Not sure what Lee's issue with the piano player was, his comping was mighty inspiring, I found.

Lee Konitz is the mother. Amazing concert ... that somehow felt like a goodbye, too. The next best thing I can think of is late Pres - so darn vulnerable, so totally open ... and in the best moments: sublime. Yet at the same time he was grumpier than last time (March 2010), got on stage telling the sound guy to turn off all the mics and saying he hated that sound in here (he was unamplified, bass had some pick-up and a mic, drums and piano very few mics - it sounded nearly acoustic from where I sat, except for the double bass). Then he addressed the public, explaining that he will play some old standards like "Body and Soul" etc ... adding that some say they don't want to hear that old stuff anymore, but: "screw 'em!" - darn well we do! They played two sets, both around an hour long. In the first, he interrupted a tune (sort of, just for a second), telling the piano player (Florian Weber) "that's enough!", having him and bassist Jeff Denson stop, instead Lee went on in duet with drummer Dan Weiss (the most amazing sub for Ziv Ravitz, the trio's regular drummer). Weber was kind of put off and just comped at very low volume for the rest of set one and it took him a while to find his way into the music again in set two - not sure what Konitz' problem was, as Weber was playing beautifully for my ears. The sets consisted entirely of standards, including a most beautiful "What's New", as well as "You Don't Know What Love Is", "You Stepped Out of a Dream", "I'll Remember April" and others. They ended set two with an encore, Lee up on the gallery, playing "Cherokee". Lee seemed to be shorter of breath than last time, although he looked in better shape generally (and stood for long stretches, while last time he played seated most of the time, and just for one, ca. 80 minutes set, when only an hour had been announced). He came in and dropped out of the music often, playing a few bars, then leaving space for Denson/Weiss (and sometimes for Weber) who did a great job, keeping the music very alive and multi-directional (and Weber's comping was great, I found! in his short solo ventures in set two, he played lots of locked chords stuff and some very narrow harmonic things, keeping his hands very close most of the time - a most interesting player, in my book). Anyway, the great event was of course Lee, who went into dialogue with Weber (in the first half of the first set, he was fed with ideas and took off on most of Weber's phrases and it was a joy to hear), later on with Weiss more often - and Weiss was truly great! Last time I caught him live was with Rudresh Mahanthappa's Indo-Pak Coalition (third of that group was guitar player Rez Abbasi). Lee sounded weak and dangerously close to dropping out of tune at some moments, while at others, the old magic was there, his lines flowing in this weirdly rhythmicized manner that's all his ... and in a few tunes in set two ("What's New" being one of them), he was really singing on his horn - pure, yet fragile beauty. Anyway, after a break with no music for two hours, I need some Pres (prime Pres, 1936/37) to slowly wind down ... Lee is the true inheritor of Pres' music, the last standard bearer of a forlorn, long-forgotten world.