king ubu

Never caught him live ... and am not that familiar with his big band music, so .... would love to have such memories though!

Well, we don't even know of a release date yet ... but I guess amazon.fr might have the best prices again, as they usually do on these. The first ones start showing up, with cover pics too, but no dates or prices yet: http://www.amazon.fr/Cpte-Black-Saint-Soul-Records/dp/B011MICIHG/ http://www.amazon.fr/Black-Saint-Soul-Note-Records/dp/B011MICBTQ/ Thought last time I looked some had prices allotted, but not now.

yes, the music came as quite a surprise to me - very, very good!

Quite some! But I guess I dig any chance to hear Billy Mitchell in a small group setting. And that long drum solo by Frank Butler is exceptional, just as his playing in general is - beats me why he's not better known, he's such a fine musician!

Yes indeed, masters only alas - but still lots of music I haven't been able to get so far. And it's rather nicely done, alike their Felsted set (not the cheaper one on five discs by some other PD label but the Freshsound one ... though the cheaper offers more or less the same information/reprint of original liners, I think).

Agreed. As far as I'm aware, she only provided some details about the live recording with Warne Marsh (where his heirs were involved in clearing the recording for release - alas download only as well, but well worth it). Though the other point (I think she told some of that story about the Tampa album?) is: even if there's legal stuff around and even if she might be infringing it: did the label behave correctly, pay royalties etc? As far as the Tampa album goes, it seems the answer is no. So where does that leave us? At the point of giving up and not releasing anything anymore because you can't get it right once it's (or you'd) been wronged? And what about other sidemen and their heirs (I'm weary of heirs anyway, I think in general that 50 year thing in place over here is perfectly sound -- wife and kids, alright, certainly, but all others, no thank you, go and earn your living please). Assuming though sidemen were agreed a one-off fee at the session and no further rights/royalties, that shouldn't be much of an issue?

Yeah, "Duke Dreams" is the one I've scored on vinyl and it's wonderful indeed!

52€ at amazon.it when checking out (shipping to be added, not for me though - too good to pass up, although I'd prefer to have it all with the presentation of the old Japanese series)

For me, at least, the Pike is a nay. The miking somehow picks up Pike's "chanting" to a level where it competes with the instrument. Perhaps not a problem for some, but I find it disturbing. And while it could have been refreshing to hear Bill Evans on up-tempo material in a non-trio context I find his contributions to be far below, for example, the George Russell "N.Y." album (which admittedly is tremendous). It may be ten years since I actually listened to the album. I might try it in the car tonight when I'm going to the recycling station. The Burton is better in my opinion, but ultimately more enjoyable for Jim Hall's playing than Burton's, who I believe still was in his teens. Nothing really sticks out that would make me want to pull this album from the shelf. ha ha ... actually I have a couw burn of the Pike - but rather than leaving at the recycling station I'd pass it on to a friend Thanks everyone for the feedback so far!

Guess we should really have separate threads for those that want to know what rare albums are part of these series ... stuff gets buried so fast in these BluSpec vs. SACD vs. whatever discussions I keep losing track Some albums I'd be interested in include these: Lenny Hambro: Message from HambroLenny Hambro: Nature of ThingsDave Pike: Pike's PeakGary Burton: New Vibe Man in TownGary Burton: Something's Coming!Dave Brubeck: JackpotDave Brubeck: In AmsterdamTeddy Wilson: Mr. WilsonTeddy Wilson: And Then They WroteMonica Zetterlund: The Lost Tapes at Bell Sound Studios NYCKimiko Kasai: Thanks DearKimiko Kasai: Tokyo SpecialKimiko Kasai: In PersonCharles Lloyd: NirvanaCharles Lloyd: DiscoveryCurtis Fuller: South American Cookin'Curtis Fuller: The Magnificent Trombone of Curtis FullerRay Bryant: Little SusieCharlie Rouse/Seldon Powell: We Paid Our DuesAny yays and nays? I enjoy Verve period Wilson quite some, gather these two would be similar? As for Rouse/Powell, I've got the Epic/US/whatever reissue of "Yeah.", so I think only the Powell half would be new to me ... worth it? And then Kimiko Kasai ... all I know is the album she made with Herbie Hancoc - how do these three compare?

Nothing. But I don't know it. However, if I knew it, most likely I would still answer: nothing. I've once had copies of their two Basie OT sets, and they sounded muffled and I would not be surprised to find them MP3 sourced. At least, with that lousy sound quality, you do for once not get the impression that they just copied the Mosaic straight (because sound on the Mosaic is fine).

I didn't but as that's the only one I've bought so far, that's really too bad! Lousy job!

Wwhich, luckily, is part of the series - mighty fine album!

Exactly. Same experience here. And then there were both the similarly-produced ONYX LPs on early 40s swing and the 50s live recordings (Bob Andrews! The Jerry Newman of the 50s!!) on Xanadu that added importantly to the discographies of the key artists and leaders. Compared to that - sorry to say - those latter-day recordings (70s onwards) on Xanadu always appeared a bit like fillers to me. They may have been (and are) nice to ALSO have, but the essentials dated farther back and were milestones in the appreciation of the music from the bebop era by a wider audience who had not been around when the 78s were current and accessible. I can relate to that of course ... but coming to jazz (and earth) some years later than you, Xanadu's historical releases never played a part in my listening at all - they weren't around at all, with very few exceptions (the one of which I ever bought - semi historical one rather -, after buying, I brought back to the store which luckily took it back, too: a Lucky Thompson release containing french recordings that were either on the two Vogue discs or on one of the jazz in Paris CDs). Not sure how much music I'm missing out on or how much of it I have in other (CD) editions - however even if I miss out on some of it, with most artists concerned I was probably able to buy quite a bit more than you could, so I've not felt like missing out on too much really. (I may be wrong though, but please don't tell me .) So the main focus, if I hear Xanadu, to me is their own productions, which again I've not really had access to on any larger scale. I scored "Picture of Heath", one of the Dolo Cokers, a Red Garland (bought from somone here, I think?), and that's already it, other than a few instances of "carpe diem" (some vinyl rips). So, never having heard most of these Al Cohn dates, only having the wonderful Sonny Criss on a copy provided by some friend, not knowing the Teddy Edwards ones ... there's indeed plenty of attraction there, to me! Barry Harris, too ... would be nice for sure to see a second round of 25, but as they do them in smaller batches, I guess that might as well be it, and we won't get any of those Sam Noto albums back.

Happy Birthday, Tom!

I've always liked his solos on "Balcony Rock", where he shows he could play the blues (though I can't think of any other examples) and Le Souk, where he goes East a few years before Miles and Coltrane did. Both on Jazz Goes to College. Well, there's of course some fabulous blues playing on "Blue Rondo à la Turk", too But yes, "Balcony Rock" is pretty nice indeed!

Trying to sort things out - asterisk means inlcuded: *Max Roach Featuring Anthony Braxton - Birth and Rebirth (Black Saint BSR 0024) Max Roach - Pictures in a Frame (Soul Note SN 1003) *Max Roach and Cecil Taylor - Historic Concerts (Soul Note SN 1100/1) *Max Roach and Cecil Taylor - Historic Concerts (Soul Note 121100/1-2) Max Roach - In the Light (Soul Note SN 1053) Max Roach Double Quartet Live at Vielharmonic (Soul Note SN 1073) Max Roach - Scott Free (Soul Note SN 1103) Max Roach - It's Christmas Again (Soul Note SN 1153) *M'Boom - Collage (Soul Note SN 1059) *Max Roach - Survivors (Soul Note SN 1093) Max Roach Double Quartet - Easy Winners (Soul Note SN 1109) *Max Roach Double Quartet - Bright Moments (Soul Note SN 1159) So there really seems to be no rationale ... but with six more albums remaining, I guess chances for a second box aren't all that bad - at least I hope so! (With Muhal, I don't dare hoping so, thus got the missing pieces one by one - not exactly easy with some of them.)

Re: early Desmond - hellyeah! Some of those very early sides for Fantasy with Brubeck are pure magic! "You Go to My Head" and "Over the Rainbow" from Storyville, Boston, October 1952 (on the CD "Dave Brubeck/Paul Desmond" - there's a blue one also titled "Stardust" and red one with a b/w pic that's just "Dave Brubeck/Paul Desmond" and both contain their share of amazing music), or the longer take of "Stardust" (on the blue disc, obviously), live from Berkely, March 1, 1954. And if you want to hear Desmond playing FAST (!) and treaing it up and adding boppish phrases to the mix, get "Jazz at Oberlin" (March 2, 1953). No real clue as to why Desmond ended up being Desmond, but these early sides cover so much territory and some of the stuff going on between him and Brubeck is pure magic indeed. Regarding early Columbia, one track I've always been particularly fond of because of Desmond is "Audrey" on the album "Brubeck Time" (rec. Oct 1954).

Really gotta wonder about the role geography played in all that, too. northern California/Bay Area...not sure that the imperative to conform to the general "modern" orthodoxy was there Good point. Good point indeed - not more than an educated guess but yeah, I'd assume it did indeed not matter. Or not much. The San Francisco gang seems to have been different again from the SoCal scene (which allowed much more room for experimentation in the fifties than New York did, it seems). Other question: was Konitz really there earlire? Maybe he was on the scene/visible earlier ... but would it have mattered at all to Desmond who was practicing in San Francisco? After all, the Brubeck Octet (albeit not their recordings, at least not mostly, and contrary to what Brubeck said himself, later on) does pre-date the Birth of the Cool band - and it made music that's funnier and more genuine (whatever that is) than most of the "third stream" that popped up in the fifties ... why look for towering influences when you can do your own stuff?

I don't really have much of a problem with Brubeck's music for what it is, as long as I don't expect it to be anything more. It swings in an off-kilter way, and is interesting and inventive. But it lacks the multiple levels of engagement that, for me, sustain interest and encourage further invention. I'm pretty much with you all the way on Brubeck per se...interesting, original, and quirky. But it is what it is, and that's pretty much ALL that it is. Which I've come to appreciate as being no small feat itself, really. But yeah, self-contained world, really, Desmond, though, he brought something extra, he had another set of gears. Gears which not unlike his hair (and unlike Brubeck's hair) got more and more implied as the years went on. And a gear to which he did not seem to put in motion at all times, for whatever reason, but which was always in reserve. some guys are like that, you always sense that they got something extra, don't fuck with them like they don't. I also wonder if the changes in Brubeck's music brought about by the addition of Joe Morello and the whole Time Out thing that saw a permanent shift in the Brubeck group dynamic brought out that middle-class thing in him, a passivity to not fuck with something that's working. I say that, because comparing his playing with Joe Dodge in the quartet when they're just blowing on standards (with or without those cleverass harmonized heads) is not the same as his playing with Morello behind him. Might be a coincidence, might just be that he got comfortable with the indulgences that his success afforded him, but either way, there is a difference. And the material contained in the Desmond/Hall Mosaic is...harder than it look, if you know what I mean. Jim Hall did not make cheap music, and what he does with Desmond really sorta blows Desmond's cover as being an "easy" player. OOPS! Point just being that "Brubeck" and "Desmond" might be synonymous, definitely are sympathetic but they are not really equal. Brubeck was good, clean, hard work, he'd make his intentions known honorably. Desmond was getting the angle in and then having all the fun he wanted to have. One, the devoted family man, the other the renowned drinker, womanizer, just all-around SCOUNDREL! And here's some waaay late props to Joe Dodge, him being the Brubeckian World Jo Jones to Joe Morello's Sonny Payne, and yes, love it, all of it, variety is the ultimate trip as well as the ultimate test. The above looks like you wanted to return a one-liner to my snorty post ... so come and let me have it! Anyway, thanks for your insight here and in other recent Desmond/Brubeck threads. Not sure I agree in every detail (for one, I probably am more positive towards Brubeck), but it's surely interesting to follow your line of thought!

Hm, hadn't have any time to check, but the Roach one DID appear to be small ... how many albums are missing? Enough to grant a second set? (more than four or vie, or else it's probably not going to happen as they've done boxes up to 9 or 10 discs - the Gaslini even was 11 and still not complete, not even for Dischi della quercia, but I'm not complaining too loudly as this was my first chance to grab this music).

So, was Paul Desmond the first neo-con in jazz?

the upcoming bunch: Blake and Mitchell are the ones that please me most, Roach as well ... Wheeler comes as a surprise (wasn't even aware of him having any connection to BSSN), the Mingus might be good, too ... the Hill of course, not sure I'll get it though as I have all four albums ... less sure about the Shepp, but seems Siegfried Kessler is on some of it, which clearly is a plus

To be frank, I found the old search was quite useless already ... switching to google as described above makes it much easier to find relevant threads.