king ubu

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.

sad news

Heita! The Remy disc of the 1720 suites is excellent indeed! What do you think of the recording Eva Maria Pollerus has made of the 1736 Muffat edition (including embellishments by one of Händel's contemporaries and competitors) of them? Just starting to check out some more of Händel's chamber music, as you've certainly noticed. Will get the Christie disc of violin sonatas eventually, to complement the Manze/Egarr one (which I enjoyed on first - and so far only - listen). Also have this one on the way:

and here's the list of concerts included in the box that amazon provides - guess it's all those "previously unissued works" that aren't part of the complete jackets box, the rest is ... but as I said, I never had a closer look so far: DISC 1 April 25, 1943, Carnegie Hall, (live) DISC 2/3 January 17, 1949, Carnegie Hall, (live) includes 11 previously unreleased recorded works DISC 4/5 February 21, 1949, Carnegie Hall, (live) previously unreleased except for 1 work DISC 6/7 March 20, 1950, Carnegie Hall, (live) includes 13 previously unreleased recorded works DISC 8/9 March 5, 1951, Carnegie Hall, (live) DISC 10/11 April 23, 1951, Carnegie Hall, (live) - includes 4 previously unreleased recorded works DISC 12 January 12, 1953, Carnegie Hall, (live) previously unreleased DISC 13/14 February 25, 1953, Carnegie Hall, (live) includes 3 previously unreleased recorded works DISC 15/16 May 9, 1965, Carnegie Hall, (live) DISC 17/18 April 17, 1966, Carnegie Hall, (live) includes 6 previously unreleased recorded works DISC 19/20 November 27, 1966, Carnegie Hall, (live) includes 8 previously unreleased recorded works DISC 21/22 December 10, 1966, Carnegie Hall, (live) includes 8 previously unreleased recorded works DISC 23/24 November 26, 1967, Carnegie Hall, (live) includes 14 previously unreleased recorded works DISC 25 January 2, 1968, Carnegie Hall, (live, invited audience) - previously unreleased DISC 26 February 1, 1968, Carnegie Hall, (live, invited audience) DISC 27/28 November 24, 1968, Carnegie Hall, (live) - previously unreleased DISC 29/30 December 15, 1968, Carnegie Hall, (live) - includes 5 previously unreleased recorded works DISC 31/32 November 16, 1975, Carnegie Hall, (live) DISC 33/34 November 23, 1975, Carnegie Hall, (live) - previously unreleased except for 1 work DISC 35/36 May 18, 1976, Carnegie Hall, (live) DISC 37 January 8, 1978, Carnegie Hall, (live) DISC 38 Horowitz' "Private Collection" of Carnegie Hall live recordings 1945-1946 Compilation DISC 39 Horowitz' "Private Collection" 1947 Compilation DISC 40 Horowit' "Private Collection" 1948 Compilation DISC 41 Horowitz' "Private Collection" 1949-1960 Compilation Bonus-DVD January 2 and February 1, 1968: Horowitz on Television previously unreleased

I need to have a closer look some day - but for instance, on the Sony 3CD Chopin set, there's plenty that's taken from Carnegie Hall, so I wouldn't be surprised (not that it bothers me at all).

I know - I wonder though if those that are are all duplicated on the Carnegie Hall box ... guess not necessarily, but as I said, I never really felt about comparing my various smaller sets with the Carnegie box.

Yet there's plenty of original-album-released stuff (Chopin, for instance, Scriabin, too, I think) that was taken from Carnegie Hall concerts ... I've never even attempted to figure it all out, have plenty of smaller sets (too much to ever have considered the complete box, which would probably be overkill for me) plus the Carnegie box (which is overkill as well, I guess, but it was so cheap ... )

recently listened to this one again (no, I don't own a physical copy): very good, I found - and some outstanding tenor playing!

How do the live boxes (Carnegie Hall and the new upcoming one) compare to the Original Jacket box? Is all of it duplicated in the jackets box? I'd be surprised if yes, but I have no idea. Here's a site with an exhaustive listing of recordings: http://vladimirhorowitz.hostzi.com/

@Moms: any specific recommendations for Spányi in BIS? Presto is running a special offer for another few days and one of the reasons I don't have a single disc there is the shear amount of stuff and that I have no clue what might be especially worthwhile (and yeah, I'm hesitant in this case to go for the long run, it's really a lot of music of which I so far have not got a particularly good idea, so I wouldn't even know if getting the whole shebang would make sense on the long run or not). http://www.prestoclassical.co.uk/promotion/bis?k=11&w=Miklós+Spányi+-+C+P+E+Bach Edited to add: I'm not too big on the clavichord so far ... rather have harpsichord or fortepiano recommendations thus, or a mix.

someone should tell him that thing about tone and music ...

Happy Birthday!

Thing is you'll get a re-fund for the disc, but none for their nor for your own shipping costs. So it's mostly not even worth bothering as it'll just even out ... one-star-feedback is the consequence, but it will take many of those to bring down those vendor's 96-97% ratings to less than 95% (which is where I get cautious).

found a cover here: (they release fine music, but they should work on their typography) https://www.discovery-records.com/product-ST83227/art-pepper-quartet/live-at-fat-tuesday's-deluxe-digipackandhellip;.htm

I think though that they're quite straightforward about it (though in my case it was a disc listed as "Audio CD" with no further comment, bought via one of those secondary vendors - but I guess it would have been the same had I ordered from Amazon themselves). Wasn't aware of New World doing the same though - I actually would still love to get the two Cecil Taylor albums, only have copies once provided by a friend. But replacing CDRs with CDRs would be a drag.

All the very best, Lon!

I've bought at least one CD-R from Concord/Fantasy as well, and most recently one by Mode/V.S.O.P. - neither time it was properly described, both times bought via one of those large vendors using amazon marketplace. But who's the source of this I wonder? Is it really the label itself?

no progress on Brautigam (or Schornsheim) yet, but I played these two for the first time yesterday and enjoyed both: Bilson does Hob XVI:50, 43, 39, 20 and 40 (in that order), Cerasi offers Hob XVI:48 and 4 on fortepiano (a Schantz as well, different spelling on the cover), then Hob XIV:19 on a clavichord, and finally Hob XIV:42 and the Andante and Variations in f minor Hob XVII:6 again on fortepiano.

Sounds enticing! I've grown so vary of those vendors (selling non-declared CDRs, wrongly described/graded used items, not reimburseming properly even if the error's theirs ...) - but looks like the best option in this case, alas. Hip-O being Universal-owned one would expect them to have proper distribution though ...

anyone besides medjuck heard this by now? and anyone found a European source with acceptable price?