skeith

THanks John L, Brownie and Lon for your helpful comments!

I am considering this set. I have the 4 cd set America's #1 Band and understand there is significant overlap between the two sets. Should I get the Mosaic anyway? why

Very sorry for your loss Rolf

I love the State of the Tenor recordings. The playing, the tunes, and the sound is not bad either.

Assuming that the house/garden metaphors were intended as suggested earlier, why the condescending tone? It's a metaphor to which many people can relate to their own life experience, probably at least as many as can relate to "The starless night were not in vain"...that it's not "artfully constructed" assumes that it is even concerned with working the same "technical" turf as Dietz/Schwartz, which I seriously doubt is the case. That it for whatever reason "should" be so concerned is a conceit which I do not share. This specific instance is hardly a "glorious" example, but I have a very difficult time justifying why anybody "should" strive for one mode of expression over the other, especially when somebody is communicating effectively to/with whom they are attempting to communicate about that which they are attempting to communicate. I have an even greater time assuming "superiority" when I myself may very well not be able to communicate effectively with that target/group/audience/whatever. What I have no difficulty in saying is that my wife enjoys gardening, that my heart would have to ready be very hardened for me to even try to take that from her, and that if I did, her heart would be irrevocably hardened, and that, yes, that would be a pretty damn sad thing to have happen, no matter how you express it, the bottom line is that it would pretty much suck as hard as anything could suck. There's an infinite number of ways to express that, but none of them would make it suck any less. Jim -- How you can't see that both "By Myself" and "Alone Together" are powerfully about aloneness baffles me. It makes me wonder whether we can even continue to talk about this stuff, though of course we can and will continue to talk about a whole lot of other things. I'm kind of baffled, too, about your use of the phrase "linguistic ploy," as though constructing a song in which the interplay of words and music, sound, sense, and accent, were some kind of elitist lifted-pinky game. Surely it's quite common in music in general, and in jazz in particular, to set up a framework of structural expectations (harmonic, rhythmic, etc.) such that a deviation from those expectations give a particular phrase or note a meaning that comes in part from its novel "position" within that structure, a meaning different from what it would have had otherwise. That's what I'm talking about. In particular, and you do know those songs, here's where some the accents fall at key moments "By Myself" and "Alone Together": I'll face the unknown, I'll build a world of my own; No one knows better than I, myself, I'm by myself alone. Alone together the blinding rain The starless night were not in vain For we're together and what is there to fear together And we can weather the great unknown If we're alone [pause] together Surely you can see, for example, that the enforced pause between "alone" and "together" in the final line of the song gives that final repetition of the title phrase a new darker meaning, one that is set up above by the chime between "we're" and "fear." As for your "Words don't mean a whole helluva lot. Sentiments do, a little bit more..." forgive me if I mention the famous conversation between Degas and Mallarme, as related by Paul Valery: "[Degas] told me that, dining one day...with Mallarme, he gave vent to his feelings about the agonies of poetic composition. 'What a business!' he lamented. 'My whole day gone on a blasted sonnet, without getting an inch further.... And all the same, it isn't ideas I'm short of ... I'm full of them... I've got too many....' "'But Degas,' said Mallarme ... 'you can't make a poem with ideas... You make it with words.' Go tell the shade of Lockjaw that his solo on "Whirlybird" was made of sentiments, but its notes "don't mean a whole helluva lot..." Sure -- Jaws, and you and I and everyone and his uncle know about and feel the sentiments, but the actual notes matter immensely, no? As for my condescending tone about "he got the house and he got the garden, and their hearts began to harden," I have no problem with the house-garden metaphor or with the sentiment, but its verbal expression seems awfully clunky to me, rhythmically and otherwise. And if you're going to do a "but that's the way plain people talk" number, I think you'll be under-rating so-called plain people terribly. No, they may not talk in the same way Howard Dietz's lyrics do, but Johnny Cash's I keep a close watch on this heart of mine I keep my eyes wide open all the time I keep the ends out for the tie that binds Because you're mine, I walk the line" or the lyric of Patsy Cline's "Crazy" Crazy, I'm crazy for feelin' so lonely, I'm crazy, crazy for feelin' so blue... I knew, you'd love me as long as you wanted, And then someday, you'd leave me for somebody new. Worry, why do I let myself worry? Wonderin', what in the world did I do? Oh, crazy, for thinkin' that my love could hold you... I'm crazy for tryin' and crazy for cryin' And I'm crazy for lovin' you. or Clarence Ashley's version of "The Coo-Coo Bird" Gonna build me a log cabin On a mountain so high So I can see Willie As he goes passing by. Oh, the coo-coo, she’s a pretty bird She wobbles as she flies She never says coo-coo Till the fourth day of July. I’ve played cards in England I’ve played cards in Spain I’ll bet you ten dollars I beat you next game. Jack-a-Diamonds, Jack-a-Diamonds I’ve known you from old You’ve robbed my poor pocket Of my silver and my gold. My horses ain’t hungry They won’t eat your hay I’ll drive on a little further I’ll feed ‘em on my way. are crafted IMO in ways that "he got the house and he got the garden, and their hearts began to harden" are not. Craft does matter, even though styles of craft obviously vary a great deal. "Obstacles ... prompt despair in some, while they only convince others that there is something beyond." Of course you know that Willie Nelson wrote "Crazy"

Yeah after beating the Saints the other week. Wow!!!

I saw in a store today a new version which appears to be a UK import and lists the company on the spine as Douglas - the original label. THis has been out of print for a while - there was the RYkoDisc and then Knitting factory had it out for a while. Does anyone know if the original artwork was reproduced inside - it is not on the outside. Anybody know anything about the sound quality - never thought the previous issues sounded so great.

thanks guys, the duster appears to have worked and for good measure I attempted to clean the lens with a spot of Windex.

Prices reduced: Bitches Brew = $30 Cannonball Quintet in Chicago = $15

Cannonball Adderley Quintet in Chicago - (mini-Lp style) PHCE-3065 (2496 Spectrum Rainbow edition) = $17.50 Bitches Brew- Miles Davis -Sony Mastersound Edition (DSD) (2 cd set + 1 bonus track "Feio") SRCS 9714-5 = $35.00 All discs in excellent condition and have the obi strips. Prices include insurance and delivery to a US address

Having first watched the DVD, I have been listening to the cds on the new Legacy edition. The sound is fine, but not as warm as the Japanese Mastersound edition, even though the Japanese version I have used the US (Wilder) remaster - go figure. While the alternates are fine, I do miss having "Feio" which I think fits better with the other Bitches Brew tracks, "Great Expectations" and "Little Blue Frog"- with the use of sitar - sound out of place to me on Bitches Brew and of course, belong on Big Fun.

My cd player has started making the occasional skip - they seem micro skips as it only move over about 2 seconds or so. Has anyone had success with opening the unit and cleaning the lens? Any suggestions welcome.

ok, but clear this up for me. The red X means that the message has been deleted in another persons "mailbox" correct?

I was visiting Boston this week and went to Fenway Park on Tuesday night. Guess who threw out the first pitch? Ken Burns!! And then on the screen on the scoreboard they showed a segment from his new baseball sequel called the "10th Inninng".

Lon, Do you know if this concert will be available outside of the big box?

They were playing the Tanglewood concert from the big box in J&R today. It sounded real good - torture.

The upcoming vinyl reissue is supposed to be based on the Macero mix. Interesting, my Japanese Mastersound DSD edition is a year 2000 edition.

have a good one Dan

I saw the same gig on a different night. I agree with your comments. That trio is my favorite jazz group of the ones around today.

If there is a red x to the left of a pm in one's Conversations (pms)- this means that the sender of the message has deleted it in his or her box, right? Of course I can still read it in my box, does it count towards my total?

Tammy Wynette: Tragic Country Queen

I am seeing the Paul Motian Trio at the Village Vanguard. Doesn't get much better than that.

thanks everyone for your wonderful and illuminationg stories about Joe!!!

I picked it up at J&R yesterday in Manhattan for $17.99 and watched the DVD only, it was great and not baffling in the least!!

Thanks guys. Interesting JSangry that you mentioned Fat Tuesday's, that's where I saw him the most. It seems he did not come across to any of you as a particularly strong or defined personality, and difficult to read. On stage, he seemed rather monkish, eyes closed, unexpressive. And yet he made music entitled "Power to the People" and "If You are Not part of the solution, you are part of the problem" - rather political it would seem. And yet I never saw any sort of political comments associated with him. Do you agree - an enigma?