Harold_Z

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.

Bad news. I guess he was one of the last guys left that were playing and contibuting as far back as the 30s. I loved his playing. I was just listening to some of the Lester Young Commodores the other day. Anybody remember seeing him on the Joe Franklin Show sometime in the 80s singing and playing "Oh, Look At Me Now" ? Songwriter Irving Ceasar was on the same show. Lots of laughs all around -It was classic.

Not TOO long ago (less than a year?)somebody posted a link to an online store that had vhs tapes of Art's tv series "Jazz Alley" for around $7.99 a tape. There were 3 of them with two half hour shows each on them. I bought all three and at that price they are a bargain. I can't remember which store it was - it may have been Allegro, but I'm not sure. Maybe some of these are still available, so if anybody knows anything about this they can please post it. These tapes had guys like Bud Freeman, Barney Bigard, Jimmy McPartland, Pee Wee, Tony Parenti, George Brunis.....on and on. Just great!

No complaints. Well organized and NO wait. Touch screens that seemed to work fine.

Tony, I have a single 10" lp on Mercury JAZZ CHICAGO STYLE. Floyd O' Brien on trombone and Nappy Trottier on Cornet. Good record. edit: Not Nappy on cornet - it's Muggsy Dawson.

..Also don't pass up whatever you can get of Art on Blue Note. The Bechet stutff can be found on Chronogical Classics and if you can somehow come get the Mosaic Art Hodes, you've got the cream of the crop.

I don't have the new disc, but seeing the tune list I'm pretty sure I have everything on it on Delmark Vinyl from the 60s. At this point in time I wonder what someone whose never been exposed to this type of music would make of it. It's not the polished dixie/swing of the Condon guys and it's certainly not the trite "dixieland" of the bad banjo bands (although there is a banjo present). Instead it's this highly rhythmic, intense ensemble, great feeling music - I love it. It's got the New Orleans stamp all over it. The musicians are dealing in a groove and a style. They aren't polished in the sense of being great readers or having extensive technique - but they deal with what they do and they do it wonderfully. Another aspect of this is how this relates to New Orleans R&B of the same and subsequent time. I don't think a lot of people realize the familial relationship, but it's there. It's Really there !

Happy Birthday !!

MAN ! I'm glad you guys are back !