Harold_Z

Add Gary Chester into the list of drummers... Here's Calello's website.

I was wondering if Charlie Calello was the nexus here. Yeah !..he can arrange... I'm not really familiar with the recordings in question, but probably some of the musicians involved here are Artie Schroeck (keys - vibes - drums - GREAT arranger - he ghosted some for Calello) , Ralph Casale and Hugh McCracken on guitar, Buddy Saltzman, Ronnie Roach, or Joey Cass on drums, Chet Amsterdam on bass. Those guys did the bulk of the sessions for the Seasons and Lou Christie, first with Calello arranging and then Artie Schroeck. Charlie has a website up..put his name in google and it will come up. The number of hits he arranged is truly incredible.

GRAY-SHUN MON-COOR THE THIRD

The 1940 date is the Bud Freeman Famous Chicagoans date that appears on the Condon Mob Mosaic. Four tracks from that date are included and a number of 1939 tracks by JT and his orcherstra. The Mosaic goes to 1936 with Tram tracks featuring JT. At least the last 10 tracks are not included in the Mosaic. There are also some tracks in the beginning of the set that are not included in the Mosaic. It's funny...you are getting a complete SOMETHING with the Mosaic, but it's within parameters. Dr. J. - imho It's worth having both sets - duplication is almost impossible to avoid, but some of the tracks are great for sure.

Play the vinyl when you can really sit and listen. If your doing other things, put the cdrs on.

Bob Cranshaw does indeed swing...and is also a good example of if the player swings he will swing regardless of whether it's an upright or Electric. I didn't vote in the poll - there are too many good players to narrow it down to a few - and ultimately I don't really believe in best. Again -too many great players. Among the missing greats are James Jamerson, Chuck Rainey, Bob Bushnell, Monk Montgomery, Duck Dunn, Louis Satterfield for starters. Electric bass is a special case. It's unjustly maligned and currently is very out of fashion in jazz circles. The instrument is suffering for the sins of players who have been thrust on jazz gigs who had no business being there. It's the player - not the ax. You CAN swing on an electric bass. There is a real dichotomy in electric bass playing. You have two things happening. You get the (old school) guys (like Jamerson, Rainey, Cranshaw) who bring an upright consciousness to the electric. They are primarily interested in being part of the rhythm section and grooving heavily and are not really into soloing and the incredible technique that Jaco brought to the table. The electric bass in these (old school) hands is an alternate to the upright. However - all props to Jaco and guys like Stanley Clarke and Victor Wooten. Their phenomenal chops and solo concepts are wonderful and awesome. I play electric bass professionally and I would put myself in the old school bag. I dig the hell out of Jaco -he was a phenomenon, but if I wanted to be upfront as a soloist I'd pick up a guitar. I like playing time and groovin' behind the soloists or singers. In the meantime - Jaco played his ass off - so I'm not putting it down -I'm just saying that I DO NOT have THAT concept for the instrument - and probably most guys pre Jaco agewise don't. Which is not to say that I can't appreciate that kind of playing - indeed I love it.

Up..I added the link I neglected to add earlier.

I wonder if this is any good. Anybody have any experience or opinions on this? http://www.kixsoftware.com/

Miles. Edit to say - I have no idea if it was for effect or he just didn't want to bother.

With musicians of this quality - realisticaly the playing is always of great value within a certain variable. It's never going to be bad or unlistenable. Even if carried to extremes, there will always be something of value from players like this. Soulstream has a point about tempo and I don't find it in conflict with mine. The question for me is were the tempos, or this concept, imposed upon the players as a production value or concept for the album (I think so) - and if so, that would put into jazz "mood" album context.

My favorite Cannonball is ususally the one I've listened to most recently. I really can't choose a favorite. Right now, my most recently listened to Cannon is Fiddler On The Roof and I thought that was great! It's also one of my newly acquired Cannonball discs, but I think it's going to be in heavy rotation. Among the discs I've had for many years, the ones that have recieved the heaviest play and have been revisited most often are Quintet In San Francisco, Something Else, Cannon and Trane, Greatest Hits (first on the Riverside LP and then on the Fantasy CD), Them Dirty Blues.... There may be some others.... ...and then there's the Cannonball with Miles. Cannon doesn't suffer at all next to Trane. What a one-two combination !

Any problems are due more to programming than the players. For me it's analogous to Blue Hour. Great players in both cases, but I have to be really be in a mood for it, or in a situation that calls for that kind of mood to be created. I think I posted once on this on the bnbb something to the effect that I wouldn't want to have Blue Hour playing in the car at 3:00 AM while barrelling down Rt 95. It's an listening experience you want for certain other situations.

BU-DEE-DAH

BOOGITY BOOGITY SHOOP

BOOM SHAKALAKALAKA BOOM SHAKALAKALAKA

You can get a track listing here: My Webpage It's a good set - a distillation of the mosaic (although I think it was out before the mosiac). All Aladdin material. Re the Motown set: good stuff. I have a Motown lp. I believe there are tracks on that that are not on the CD set.. Wish I could be more specific , but I haven't listened in awhile.

I'll second GOM on this.

Good question...but he sure as hell was a burner when last heard from.

All of the above - and it is a helluva lot of 12 bar blues in one setting, but the Mosaic set is the only place you're going to get that New Orleans session with Earl Palmer, Lee Allen, etc. Get the set and take it in small doses as per the above advise. That's the way it was intended - these were 78 rpm releases. Amos had a big hit with Chicken Shack Boogie and Alladin used that piece as a model for a LOT of tunes that followed. That being said...they all smoked...and this set should be as appealing to fans of R&B Tenor as well as R&B piano. I think it's obvious that Jerry Lee Lewis dug a lot of Amos Milburn and for anybody that's been digging a somewhat (shouldn't be) obscure "name" - Andre' Williams with his Greasy Chicken is also obvious.

Now that's funny!

Jim, best wishes for all. I hope you get to the bottom of this asap . All of the above posts have said everything so count me in as also offering my prayers and moral support for you and your family.

Not 100% true, but in many cases the earlier the issue, the better. I have some Commodore 78's and they sound wonderful. Also some Commodore 10" & 12" lps from the era when Commodore was still operated by Milt Gabler and many of them beat the Mosaic! I like the sound on the Wild Bill Davison "Mild and Wild" , George Brunis' "King Of the tailgate trombone" , "Billie Holiday" (also my favorite album cover), but the sound of the Muggsy Spanier "Ragtimers" was trebley and distorted. Related: I've found the same sound issues apply to "45" issues of 50's/60's R&B, Soul, Rock, etc. In many cases they beat the hell out of the cd issues in terms of presence and mix.

...or BIX ON THE CORNER

I'm in 100% agreement with Enterprise Server. I finished the book about two or three weeks ago and thought it was excellent. I also had read it in the 70s.

Can the post count. It would limit inflation.