king ubu

This link gives you (all?) of what's still available (and some more not from these series): http://www.amazon.fr/exec/obidos/search-ha...5410900-2969847 I highly recommend the following ones: (you sure all have this, but...) and here comes a personal favorite, a great record by a great saxophone player: ubu

couw: don't know about the Moody stuff (but sure would love to hear that! Picked up all the Hodeir stuff from the Jazz In Paris series as well as the one from the Original Vogue Masters). The Gillespie, Hampton (I posted the cover and link for that above) and all the Brownie stuff was available in the Original Vogue Masters series. A very good series. Over on AAJ (cannot link right now) I posted a list of this series. I managed to pick up most of them, and can only recommend everyone else to do so, too! Some great stuff by Dizzy, Brownie, Byas, Bobby Jaspar, Martial Solal etc. The easiest way to find at least some of them is amazon.fr. ubu

With the latest RVGs, it's written right besides the RVG-Series beneath the spine of the CD (don't know it this makes sense, hell, at least I tried). Second attempt: when you have the CD in front of you, you can read the RVG (or Conn)-logo on the left side. And with the copy-protected ones, you read: "copy protected Rudy Van Gelder Series" ubu

Vincent: down in the left you got "Moderation Options". There you can choose "Delete topic", then hit OK, and off go your multiple threads. (I had the same problem last week, too, and couw told me how this works, would not have known myself, otherwise) ubu

Don't they include the original tracks at the end of the box? As with the In A Silent Way box? I thought that was a good idea! AMG says those tracks are right there, at the end of disc 5. Then another question regarding "Ife" - I did wait to get into the studio electric Miles until the box-sets came ahead (with some exceptions of course), so I don't have any of the 2LP (now 2CD) sets (Big Fun, Get Up With It etc). Now my question: that track "Ife" - does it not belong in the timeframe of one of the boxes? Or did they "forget" it? And are there other things available NOT as parts of the box-sets, and if so, what tracks on what CDs? As I understand it, the whole of "On the Corner" is not included (and not scheduled to be either) in any of the boxes. So why did they not give us a CD or a double CD containing all the tracks from those dates? Then: are there other studio sessions, post Jack Johnson, available only on those compilations? thanks, ubu

Get if, yeah! I got mine. Got the Capitol just BEFORE the centennial (which of course was the reason why suddenly it seemed to evaporate...) and then already thought the Reprise could go quickly, too... ubu

Jim: the following Blue Note Sessions were recorded in Paris. At least the Clifford Brown stuff (which was also on Prestige CDs), (some of) the Gillespie and the Hampton recordings are known to me as Vogue recordings. The Legge session actually looks like it would fit very nicely with the two volumes called "Piano Collection Volume 1/2" (with sessions by Erroll Garner, George Wallington, Al Haig, Jimmy Jones and Arnold Ross - all very good to great stuff by the way, those should also be available from amazon.fr) It seems like Blue Note did have some sort of a deal to release that stuff states-side. Anyone knows more about this? --------------------------- BLP 5005 James Moody with Strings Rene Reumont (frh) Max Porret (fl) Robert Jeannotot (ob) Henri Bellicourt (cl, bcl) James Moody (as, ts) Marcel Beaujojan, Lionel Gali, Jean Gaunet, Charles Vaudevoir (vln) Robert Jadoux, Guy Rogne (vlc) Bernard Gallais (harp) Raymond Fol (p) Pierre Michelot (B) Pierre Lemarchand (d) Pepito Riebe (bgo) Andre Hodeir (arr, cond) Paris, France, July 13, 1951 * Loving You the Way I Do, Bedelia, Autumn Leaves, So Very Pretty, Singing for You, Shades of Blonde, Jackie My Little Cat, September Serenade BLP 5017 Horn of Plenty / Dizzy Gillespie Dizzy Gillespie (tp, vo) Don Byas (ts) Arnold Rose (p) Joe Benjamin (B) Bill Clark (d) Paris, France, March 27, 1952 * Hurry Home, Afro-Paris Dizzy Gillespie (tp, vo) Bill Tamper (tb) Hubert Fol (as) Don Byas (ts) Raymond Fol (p) Pierre Michelot (B) Pierre Lemarchand (d) Paris, France, April 11, 1952 * Lady Bird, Somebody Loves Me, She's Funny That Way, Wrap Your Troubles in Dreams, Sweet Lorraine, Everything Happens to Me BLP 5031 New Faces - New Sounds / Wade Legge Wade Legge (p) Lou Hackney (B) Al Jones (d) Paris, France, February 27, 1953 * Perdido, Dream a Little Dream on Me, Wade Leg's Blues, A Swedish Folksongs, Dance of the Infidels, Aren't Glad You're You, These Foolish Things, Why Don't You Believe Me? BLP 5046 Lionel Hampton in Paris Walter Williams (tp) Jimmy Cleveland, Al Hayse (tb) Mezz Mezzrow (cl) Clifford Scott (ts) Lionel Hampton (vib) Claude Bolling (p) Billy Mackel (g) Monk Montgomery (B) Curley Hamner (d) Paris, France, September 28, 1953 * Real Crazy, Real Crazy (More and More) Lionel Hampton (vib) Billy Mackel (g) Monk Montgomery (B) * Always, September in the Rain BLP 5047 Clifford Brown Quartet Clifford Brown (tp) Henri Renaud (p) Pierre Michelot (B) Benny Bennett (d) Paris, France, October 15, 1953 * Blue and Brown, I Can't Dream Can't I? (take 1), The Song Is You (take 1), Come Rain or Come Shine (take 1), It Might as Well Be Spring (take 1), You're a Lucky Guy (take 1) BLP 5048 Gigi Gryce - Clifford Brown Sextet Clifford Brown (tp) Gigi Gryce (as) Henri Renaud (p) Jimmy Gourley (g) Pierre Michelot (B) Jean-Louis Viale (d) Paris, France, October 8, 1953 * Minority, Salute to Bandbox omit Gourley * Strictly Romantic, Baby BLP 5049 Gigi Gryce and his Big Band, Vol. 1 / Gigi Gryce, Clifford Brown Art Farmer (tp) Jimmy Cleveland (tb) Tony Ortega (as) Clifford Solomon (ts) Quincy Jones (p) Pierre Michelot (B) Alan Dawson (d) Paris, France, September 26, 1953 * La Rose Noire Clifford Brown, Art Farmer, Fred Gerard, Fernand Verstraete, Walter Williams (tp) Quincy Jones (tp, arr) Jimmy Cleveland, Al Hayse, Bill Tamper (tb) Gigi Gryce, Tony Ortega (as) Henri Bernard, Clifford Solomon (ts) Henri Jouot (bars) Henri Renaud (p) Pierre Michelot (B) Alan Dawson (d) Paris, France, September 28, 1953 * Brown Skins omit Gerard * Deltitnu, Keeping Up with Jonesy Jones plays (tp); Benny Vasseur (tb) Andre Dabonneville (ts) William Boucaya (bars) Jean-Louis Viale (d) replaces Gerard, Verstraete, Tamper, Bernard, Jouot, Dawson Paris, France, October 9, 1953 * Quick Step, Bum's Rush BLP 5050 Gigi Gryce and his Little Band, Vol. 2 / Gigi Gryce, Clifford Brown Jimmy Cleveland (tb) Gigi Gryce, Tony Ortega (as) Clifford Solomon (ts) William Boucaya (bars) Henri Renaud (p) Pierre Michelot (B) Alan Dawson (d) Quincy Jones (arr) Paris, France, September 26, 1953 * Purple Shades omit Jones * Paris the Beautiful Art Farmer (tp) Jimmy Cleveland (tb) Tony Ortega (as) Clifford Solomon (ts) Henri Renaud (p) Alf Masselier (B) Alan Dawson (d) Paris, France, September 28, 1953 * Strike Up the Band Clifford Brown (tp) Jimmy Cleveland (tb) Gigi Gryce, Tony Ortega (as) Clifford Solomon (ts) William Boucaya (bars) Quincy Jones (p) Marcel Dutrieux (B) Jean-Louis Viale (d) Paris, France, October 11, 1953 * All Weird Clifford Brown (tp) Jimmy Cleveland (tb) Gigi Gryce (as) Clifford Solomon (ts) Henri Renaud (p) Jimmy Gourley (g) Pierre Michelot (B) Jean-Louis Viale (d) Paris, France, October 19, 1953 * Chez Moi omit Brown, Cleveland, Gryce * Hello BLP 5051 Gigi Gryce Quintet/Sextet, Vol. 3 [unissued] / Gigi Gryce, Clifford Brown Clifford Brown (tp) Gigi Gryce (as) Henri Renaud (p) Jimmy Gourley (g) Pierre Michelot (B) Jean-Louis Viale (d) Paris, France, September 29, 1953 * Blue Conception, All the Things You Are omit Gourley * I Cover the Waterfront, Goofin' with Me Art Farmer (tp) Jimmy Cleveland (tb) Tony Ortega (as) Henri Renaud (p) Marcel Dutrieux (B) Jean-Louis Viale (d) Paris, France, October 10, 1953 * Serenade to Sonny Gigi Gryce (as) Quincy Jones (p) Jimmy Gourley (g) Marcel Dutrieux (B) Jean-Louis Viale (d) Paris, France, October 19, 1953 * Evening in Paris ------------------- ubu

I will, if I get a chance! Thanks for recommending it! And you go see the Wilder one if you can! I've seen it in a new copy a year or so ago. Hell! It's great! While you're still laughing at one joke, you have already missed the following two or three. And he's not just being funny as hell, but rather as critical as you can get, and more witty than in any other of his films I've seen. And then, it's cool to have Jimmy Cagney and Horst Buchholz starring together! ubu

couw - you certainly appreciate Billy Wilder's "One, two, three"! Know it? Have not seen Goodbye Lenin myself - several people told me all the jokes before I could see it myself... ubu

I like the few things I've heard or have from Lloyd (Passin' through with Chico, Canto, one of the Atlantics). Then I've seen him live once (a month and a half after 9-11, which seemed to have hit him quite hard), and that was a great experience! He was with John Abercrombie, Marc Johnson and Billy Hart and played a beautiful concert. Recently, he was in Germany with Geri Allen, Robert Hurst and Eric Harland. Heard broadcast, and he again was playing great, the band being great, too. Surely post-Coltrane in general mood, but his style of playing the saxophone is entirely his own, a rather unique affair, I'd say. I think seing him live makes a huge difference to just hearing him on record. He's got sort of an aura (maybe the one Benjamin meant?) when being on stage performing. I have not yet picked up the CD reissue of Cannonball's Fiddler on the Roof, but I guess that must be a good one, too! And how about a "Complete Atlantic Recordings of the Charles Lloyd Quartet" Mosaic set? That would sure be a good one, and it would sure demonstrate that this music still functions very well today! ubu

Is this the quartet part of the concert also featuring the tentet? Or was that from 1964? ubu

GoM: yes, that Powell date with Navarro & Rollins has a sound, a cohesion and style of playing, which somehow seems (hate that term, but...) ahead of their time. Then concerning Blakey: I'd also rather take the Silver Messengers (or the live at the Bohemia stuff from the same unit) as starting point of Hard bop. Then there would be the Miles dates with Silver (the third Blue Note date, Walkin', the Rollins-part of Bags' Groove) which are from about the same time (all 1954). ubu

Dan - wish you all the best for the year(s) to come. And may that "Complete Three Sounds Blue Note Sessions" Mosaic see the light one fine day... ubu

How good are those Collectables reissues (soundwise)? We get them here for abotu 25$ which is certainly far too much, and then I find them to have crappy annotation (I have seen some that don't give any personnel, and some that don't give no dates etc). Yet they have an interesting catalogue. And for Hampton: there's a very good one with a similar band in the Jazz in Paris series (called "Exodus"), featuring George Coleman and Richard Williams, among others. Cannonball: yes, I'd love that, too! A complete Emarcy would maybe bring the biggest surprise to the largest number of fans, while a Capitol thing would label-wise be the most probable (the late Capitol stuff, I'd say, because we got all safe one - which is surely just around the corner - from the Riverside/Jazzland/Capitol records). Then, it would be Fantasy's business to put out a box of the complete Riverside recordings. Yet, they don't usually include much unissued live material in their box-sets, and I'd LOVE to have some more from the San Francisco or the Japanese dates! ubu

I will pick up the Jack Johnson box - I love those Sony Miles boxes anyway, and would not want to miss one of'em! Never heard the Jack Johnson album, though, waiting for the box to come. Yet I like the post-Bitches Brew stuff better every time I listen to it. Got all those live 2CDs - a pity they decided not to bring out more stuff from those dates (the first Fillmore - wow! I'd love to have all those complete sets! And of course, Live-Evil, my favorite Miles of that period - maybe the latest Miles album to really belong to my personal top 5 or top 10 Miles albums.) Then the 63/64 stuff: Hell! There's some real GREAT playing on those concerts! The double CD of My Funny Valentine/Four & More was one of my first Miles records, and I still LOVE it! Not only because of the obviously great rhythm section, BUT because of George Coleman, too! I dig his playing on the records he made with Miles very very much! He is so fast, always accurate, clean execution, full of ideas, with a beautiful (Trane-influenced? So what!) somewhat veiled sound... And on the liners of the CD, they say the quintet performed tunes not on record (I can only remember Autumn Leaves being listed, but there may be some more). To listen to that whole (hope they can dig up that stuff!) concert as it happened (though I like the sequencing of the original albums, too) will be a thrill! Then the Antibes concert was a very good one, too (I guess we already have the complete set from there on CD). And the "Miles In Berlin" album - HELLYEAH!! Beautiful sound (the Philharmonie of Berlin), and great playing by all. That's one of the best albums of the MD-Shorter-Hancock-Carter-Williams-band, if you ask me! Hope they dig up some more tunes from the Berlin concert! Never heard the stuff with Sam Rivers, but I'm waiting eagerly for it! And the early studio stuff with Coleman - I only heard those recordings once or twice, several years ago, but I don't remember them as being bad (well, not BAAAD either, I guess), but if only for the possibility to hear Miles with some unlikely musicians (Frank Butler), they should be pretty interesting. ubu

here is a link to a lengthy article for all those who read german: http://www.sueddeutsche.de/kultur/artikel/889/17872/ ubu

You're right, of course. The image I posted is from the NYTimes obituary. ubu

http://www.nytimes.com/2003/09/12/obituari...RE-Cash.html?hp

Great choice, Dmitry! I only recently got the 2CD set. Had a double LP (Countdown) and a single Savoy/Denon CD before. Always loved that stuff! ubu

I have not yet found the time to listen to it (I mean, sit down and listen, and nothing going on besides), so I though: how about doing that right now, and post some, while listening... I always loved the opening trach (Syeeda's Song Flute) - that strangely harmonized sort of fanfare, going into the Trane song after some very interesting passages, and hell (I mean: HELL), yeah (or say: HELL YEAH) it swings like mad when that child-song-theme starts! Reggie Workman and Charles Moffett create a very solid, dense yet never overwhelmingly so, background for the horns to improvise on top. When Rudd enters behind Shepp, they sort of doulbe up the interplay of Workman/Moffett. They really are toghether (check out my favorite Shepp albums for further proof of this: Live In San Francisco and Mama Too Tight) Mr Syms: It strikes me that all four Coltrane compositions are from his Atlantic records - nothing of more recent origin. And yes, those wonderful Atlantic albums had many good compositions (besides the obvious Naima or Giant Steps). Alan Shorter seems to have his own thing together. Not too close to Don Cherry, some tonality of his own, which I quite like. Bitter? The interlude is beautiful, as is the arrangement of the tune itself. Shepp really had a beautiful sound (I think he himself though that the Enja record Steam, a great live album presenting him with just bass and drums, was the one which captured his sound closest to how it was) On Cousin Mary (http://www.organissimo.org/forum/index.php...opic=26&hl=mary)Workman and Moffett set up a very swinging pulse, over which Shepp enters with a beautiful, exploring solo. Then we hear another probing solo from Alan Shorter. He seems a little more conventional to these ears, this time, but still good. Then we hear Tchicai, playing mostly in the lower register, starting from where Shepp left. He has a very nice sound on his alto sax, too - actually, all four horns seem to have their own beautiful sound together, and this, coupled with a hard swinging and pulsating rhythm section, creates the mix and mould in which this album succeeds. The trombone theme-statement of Naima strangely enough reminds me of Mingus' composition "Eclipse", however Rudd does a good job, and Shepp enters with another beautiful probing solo, which fits the mood of the tune perfectly. He is beautifully backed by Rudd again, with help from the others, this time, but Rudd's is the voice one hears most clearly. Workman plays very good here, too, creating the backdrop and melodical counterpoint here, while Moffett is rather restricted for once. Shepp's solo-cadenza is stunning, it shows he was a real master of his horn. Then comes a hard swinging section, presented by Shepp, with some counterpoint by Rudd, who starts his solo with some deceptively simple phrases and builds from there. His sound really strikes me as one of the most vocal and human trombone sounds ever. He clearly came away from the J.J. style. The slow passage then is marvellous again. The Shepp tune that closes the album, Rufus (Swung, his Face at Last to the Wind, Then His Neck Snapped) brings back to mind that this music stems from the mid sixties. It has a sort of nervous feel to it, propelling drums, loping bass-lines, sort of a stop-and-go thing. Here we get to hear a stunning solo from John Tchicai, then some more from Shepp. They make for a very interesting match. Then we get some Workman, running, stopping, strumming - sometimes reminds me of the flamenco-things Jimmy Garrison would do with Trane. A short solo by Moffett leads back into the theme. Question: anybody knows more about the title? Is there some link between title and actual music? And, hey, looking at the last picture of the CD booklet (the one of Charles Moffett) - does he really not play a Hi-hat on the whole album? I only saw that photo when I came to listen to Rufus, so I did not specifically mind this up to Rufus, on which, it seems, he really has no Hi-hat! Hope this is worth any, ubu

Congrats! A great set which I've enjoyed from the very first hearing! Dig Charles Tolliver! ubu

Just got the shipping confirmation from amazon - and in a couple of days, the Jazz Epistles Vol 1 will be mine It's a little pricey with amazon, but this seems the way to go, as they still have it! After what you all said about it, I can hardly wait for it! ubu

((OFF TOPIC: thanks to our member couw I found out how to delete a topic - going off to work on that, now...))

Thanks, Dan, but I only see the Report, Quote and Edit buttons, no delete button in the first post of a thread... wrote Use3D a PM. However, big sorry from this part. (when writing that PM, I got a message "Mail Error" when I mailed it, but being a little bit wiser, I did NOT re-send it again... We had a similar problem a couple of weeks ago, too, I seem to remember) ---- on topic: I thought we could discuss this series in general - favorite reissues, recommendations etc, how we like them in general... I have so far picked up most of the first two and the fourth batch, and all of the third. I plan to get as many of them as I can afford, but you know... Some favorites so far are the Buddy De Franco Mr. Clarinet disc, the Herman, Gillespie and Ella (Whisper Not - love the title-track!) as well as the Brubeck/Desmond are very good ones, too. And as a sucker to Tormé I obviously like that one, too, and wait for the next to come soon. Then the Willie Bobo was a pleasant surprise for me. I like those lengthy jam tracks real good! Now they could bring us all those Buddy De Franco albums with Sonny Clark, couldn't they? ubu

Holy cow! I only wanted to post this ONCE! MAY OUR FIST OF DOOM PLEEEAZE! DELETE ALL THE DOUBLED UP THREADS AS SOON AS POSSIBLE! I got to some site telling me posting was not possible, then I hit the back button, tried to start a new thread again etc... sorry -_- ubu