Harold_Z

The funny thing here is...no matter what you get, you'll be getting something good. The thing is to maximize the purchase and get the most bang for the buck. that's assuming you dig Duke and are going to stay with this. So, I'm for obtaining the most complete sets that are in good sound. i.e RCA reissues, Classsics, etc. ....but don't go too crazy here...you can't get hurt.

Aside from the bread and the superimposed fun associated with various collateral activitiees ...all that stuff...There is something special that happens when you are really locked in and the esp is really happening. It's really difficult to put in words but it does happen, (Not too often - most gigs are STRICTLY for the bread) - but when it does happen - it's smokin' !! ...and that's the REAL BUZZ that giggin' can give you.

You got it, Chris ! That's the first one that came to mind for me. I purposely didn't look at this thread for a few days just waiting for someone to mention this. In the early 60s I attended a Louis performance at a venue in Totowa, NJ called at that time, "The Gladiator's Arena". It's where the Holiday Inn on Rt. 46W is now. They had a Sunday night Jazz scene happening for 4 or 5 Sundays. I saw Pops, Duke, Stan Getz with Charlie Byrd, Maynard and Dave Brubeck's classic quartet with Paul Desmond, Morello and Wright. What a deal and what a delight for a teenage jazz freak! Anyway...it was the All Stars with Trummy, Joe Darensbourg, Billy Kyle, Mort Herbert, and Danny Barcellona. I was in the front row. Louis asked if there were any requests and I shouted at the top of my lungs...."WEST END BLUES !"......Pops hit that intro immediately (and perfectly) ... I was floored.... and they played the tune. I'll NEVER forget that.

I thought the sound was fine on most Riverside recordings, but I wasn't happy with the pressings, which contained more that their share of snap, crackle and pop. Also I didn't like the sound on 78 era reissues, but back then there was very little to compare them to. The first King Oliver I ever heard was an lp called "Louis Armstrong 1923" and the sound was horrific.

Yeah...I have a copy of that also.. I guess the '58 edition. It's an enjoyable book - very little text and primarily photos, A lot of which I haven't seen elsewhere.

I can't stand it when the liner notes are small print and a different shade of the same color as the background. Horrible.

Best invention of the 90s: Bi-Focal Contacts.

My intro to Bird was a Dizzy Gillespie Savoy lp called "Groovin' High". It contained the Guild sides and I was happy with the sound on the lp. When the cd era arrived I still liked the sound on this lp better than the reissues such as the above mentioned "Yardbird Suite" set. I know Denon reissued this lp on cd, but I've never heard it and don't know how the sound on it is. I have the "Complete Savoy/Dial" set and I DO like the sound on that.

The only Parker I've got so far is the 2 CD "Yardbird Suite" compilation (apart from some early stuff with the Jay McShann Orchestra which I don't really listen to due to the quality of the sound recording).

Sums up my feelings entirely.

I guess that's not one of them.

Mule, Bill Crow's excellent book JAZZ ANECDOTES has a short, humorous piece on the filming of the audience segment. Bill was one of the audience members. As I remember it, they watched the footage and their reaction was filmed and edited into the fim.

The audience visuals were filmed later and edited in. In other words....the audience is an OVERDUB !

Looks like a good set - I'll keep an eye out for it too. One question - I was always under the impression that producer Milt Gabler brought in big band veteran and studio pro Cliff Leeman to play drums on these - at least on "Shake, Rattle and Roll" and "Rock Around The Clock". I didn't see any mention of this in the AMG blurb - do they mention it in the notes?

DING DONG DADDY FROM DUMAS. Here's the AMG link. The JSP set is my preference on this one. Pops just blasts out the lick on a break towards the end of the tune. No mistaking it. http://www.allmusic.com/cg/amg.dll?p=amg&u...dy|{From|Dumas}

This is the cd reissue. MF all the way. http://www.allmusic.com/cg/amg.dll?p=amg&u...l=A2b4tk6dxlkrj

It's a good issue. I still subscribe to DB...even though it's increasingly part of a promotion machine. I have a suspicion that this is the issue that Phil Woods was contacted about a few months ago. To summarize that scene...Phil Woods was contacted about doing an interview and naming his main influence. He did so - named his teacher and credited his teacher with being by far the greatest influence on his jazz playing. DB contacted Phil and asked him to name someone well known. Phil got po'd at the hypocrisy involved and fired off a few salvos at DB.

Devastating news.

There's a Laserlight under Charlie Christian's name that has a few of the Minton's Jam Session tracks and the Bird/Diz stuff you mention. The Bird/Diz are the classic sides that usually come out under the Savoy banner, and were originally on Guild and perhaps Manor. Hot House is one of these.. The laserlight gives no indication on the cover that it's not completely a Charlie Christian disc. Standard cheapo label procedure when it comes to notes, but still a good buy for the price.

I didn't see them around much at all in local record stores...the exception being Eddie Harris.

My opinion...get the box. Too much Too soon? ...Nahhh...you don't have to get into it all at once - you can come back to it as you please. There's a lot to enjoy here and a lot to absorb if your into tracing the lineage of jazz guitar or into tracing the development of jazz in Europe in the 1930s - a fascinating and rewarding subject.

Hi Joe. Welcome and looking forward to your participation.

Since the mid 50s. I was maybe 10.

"Crescent"...That's the one I would go for next.

WKCR was doing a 24 hour tribute today and I heard this and liked it. I couldn't hang in the car long enough to find out what record it was from. It was a big band thing, a somewhat funkified groove on a 12 bar blues, Horns, electic guitar, etc - BUT here's what set it off - on the 9th bar, instead of going to the V chord it went to the IV chord for 2 bars. Simple idea, but nice effect.