king ubu

OJCs on Amazon have always been weird and pricy... even stranger is the fact that lots of titles are in print again right here in Switzerland and Germany, BUT Amazon just doesn't list them! (Check the other thread where I posted a link to a list of recent reissues of "Unversal OJCs".)

Great disc! Too bad BN's quality control failed once more there...

Looks like LP only. I've been resisting getting dragged back into the vinyl world, but it is suggestions like this that weaken my resolve... there was a recent CD reissue probably following the Conn... amazon.de has it mombasa - african rhythm and blues at amazon.de the last in stock copy of German Amazon is finally on its way to me (had to clear the effing credit card first... it's aching from too much use, of late...)

Don't know about duplication Cliff but the Roost Sessions are indispensable in my opinion. 3 Cd's of heaven. Here's the discography of the Proper set. But I'd also recommend you get the "real" thing and buy the Roost box, it's probably the best Getz ever... the long live date with Jimmy Raney is incredible, and so are the early quartet sessions on disc 2. I don't like the sessions on disc 3 as much (with guitar, one is actually a Johnny Smith session, it has been reissued on the BN/Capitol disc "Moonlight in Vermont", too - that was the hit title back then). This happens to be the first Getz album I bought, way back when. A good one. Compared to the Roost box, I always found this one a bit of a let-down... but then I got the Roost stuff first and love most of it a lot (see above...)

good AND fast...

Happy Birthday, Colin, wherever you are! Hope all's well!

yup yup - cellar door is terrific material!

hey, wait, aric breaks copyright laws (and so do those who import to the US), over here it's perfeclty legal... nice disc, by the way, I recently picked it up! CDU via big-o link: http://www.cduniverse.com/sresult.asp?HT_S...;cart=476889664

Lester dropped his drawers, too... oh wait no, he's telling us to drop them, right? So adult music is if we drop our drawers when listening?

a sammich of Lou D. and Kenny G. or Dinah Shore and Julie? I guess that's adult music... uhm, Popper Lou, would you let me try your sammich?

Got my Condon Mob set yesterday! Played the first parts of the last disc, two great Wild Bill Davison w/string cuts (Yesterdays is sublime!), then the first of the Lee Wiley 10 inchers, the Manhattan album - terrific!

Nah, it's Eddie Vinson. Vinson wrote Four and another Miles staple... but I read somewhere that he officially let Miles have them since he was out of recording at that time, or something... But I think it was Ozzie Cadena, and Carpenter ripped him off!

Of Solal's reissued albums, I am a fan of the four volume series The Complete Vogue Recordings which is currently available. Two recommended Konitz-Solal, first one on Steeplechase, second on Hatology I have some various short bits from Jazz à Juan with Konitz, Solal and a host of others... could you please type out the exact info for me, so I can make sure I don't spread any live stuff that's on this disc? I guess I should try and get hold of the disc myself, but not right now, spent too much again, already... The hatOLOGY release of Konitz/Solal comes easily recommended, it's a very fine one - it is sold out, however, so I urge you to act fast!

well, you have my sympathy there, of course... although usually I don't drink while posting or vice versa (or I stop posting after a # of beers...)

Haarla is great! I've heard a fantastic live broadcast of her quintet (and shared it with a few of you, feel free to pass it on!) But mainly there she's on piano, no? It's been some time since I listened to it, and I haven't gotten her ECM disc.

Oh, that's very sad news I'll have to put Invitation on, too - my only Kessler so far, and indeed a very good one.

Isabelle Olivier She has two discs, both available from the Nocturne website (one of them is on the Nocturne label). I just picked up "Petite et grande" (Compagnie Metamorphose) in a sale, haven't played it yet, but I first heard her in a 2006 broadcast on France Musique (I think from the festival on the Ile de Porquerolles). This disc mostly features her Ocean Quintet, with Sébastien Texier on reeds, a fine group: At that festival she also appeared in a more ambitious/experimental set-up with a guy playing electronics, plus the violinist from her Quintet, Johan Renard.

bumping this up... a couple of weeks ago the Radio France show "Jazz Club" (a two hour live broadcast from usually a club in Paris) featured a gig of Rick Margitza's quartet. Then I also found this one in sales here: It's a bit of a pastiche kind of album, but in the end things fit together quite well. Margitza, so says the Nocturne homepage, has been living for about a year in France now, and with this, his 10th album as a leader, he pays hommage to his eastern european gypsy roots. There are some 15 musicians appearing on this disc, many of them on only a few titles, but as I said, for me it all comes together pretty well. Here's another trivia: who's grandfather has played bass with Glenn Miller and taken part in the "Bird with Strings" sessions? Of course, Rick Margitza's... (maternal, in case that matters... and he also played cello, so I guess that's what he played behind Bird)

found these in sales here: Haven't played any of them yet, but maybe I'll feel like playing some more ratty music than I did of late (thus I mostly disappeared from the thread, recently).

Derek Bailey? I haven't read his book, but even a few quotes from interviews are very insightful, I think! One of the wittiest minds of any music, ever, methinks!

Get "Aspects"!

I was being a bit harsh, but had to do, I guess, with the Sco vs. ECM comparison (I know, I know, he's on ECM, too, now... but it's DeJohnette actually who was the leader, I think). Anyway, I really, really enjoyed a recent (2006, spring, I think) live broadcast of Sco's Ray Charles programme - must be the one thing of his that immediately connected to me. Bluesy, basic stuff. And I never wanted to really put him down, I am sure he's a very able musician, to say the least - it's just not that I can connect to most of his stuff that easily (and I'm used to connecting with lots of "difficult" things, see funny rat...) Regarding the sound of ECM, it seems to me that from the older (80s) albums, those done in NYC often don't have the "ECM sound". Also there might be differences between Ludwigsburg things and the Oslo stuff (their house studio by now? But then again Stanko did his latest at La Buissonne in France and it seems it sounds different again - La Buissonne is the great studio where most if not all of the gone and regretted Sketch releases were recorded). Of am I mixing things up and Ludwigsburg is Enja only? By the way, a funny thing about ECM / Enja is, that in my opinion, Enja Winckelmann, after the split with Weber (Enja Weber) has got the far more interesting catalogue by now, not just as far as size is concerned, but he does (did?) all those "mediterranean" projects with WDR and SWR radio stations, La Banda, Trovesi's Midsummernight Dream, Michel Godard's two "Castel del Monte" discs, Pino Minafra etc., plus stuff like Johannes Enders, Rabih Abou-Khalil, Dhafer Youssef, while Enja Weber has mainly a "great black music" catalogue (his new releases go beyond that, too, though, with Charlie Mariano, Aki Takase or - also, I think - Michel Godard). Of course the "great black music" or black avant stuff needs to be documented, but by 1980 it was often just some old trad stuff and not really where things where happening. So in the end while it may be worthwhile, I don't look at it as a mistake on anyone's side not to focus mainly on that kind of music after say 1980. And another thing is that of course a label's owner often just records what he likes himself - so did Alfred Lion, so do Uehlinger (hat hut records) and Eicher. That's perfectly legitimate, although it may be hard on musicians of a lesser demanded style, but such is life. Now keeping ones old catalogue in print or doing the occasional reissue (hello, Mr. Weber!!! and to some lesser extent of course Uehlinger and Eicher, too!) I think should be done more often - sort of taking responsability for ones own catalogue and keeping to spread it, instead of turning it into collectors' stuff (as happens with hat releases, but Uehlinger simply hasn't got the means to reissue all his stuff AND do new releases, and - again, that's perfectly legitimate - he does by no account want to turn his label into a reissue label, but still sees his main focus on documenting new music and producing new releases).

Or holding marriage until good sex. busted, you sexmaniac!

hey, we don't slam chillun here!