BruceH

I really hope you're wrong! I've already pre-ordered SFTNL. I've never heard it, but after reading so much about it on the boards and in books over the years, I had the impression that it was THE Lee Morgan recording to have. Don't worry John. I'm a fan of SFTNL too, and will be picking up the RVG next week. If you give it half a chance, I don't think you'll be disappointed.

I forgot that Bird and Prez had such close birthdates. Lots of listening to do today!!

Gee, ya think?

I vote you get "Sophisticated Swing" next. Can't recommend it highly enough.

I don't care who did it or how rare it is, this is TOO much money for ANY damn record! (Cover looks cool, though...)

Great photo, Catesta. Where did you dig it up?

If he were still alive, Lester would be 94 years young today. Spin a track or three in his honor. Here's to the greatest improvisor between Armstrong and Parker!

BTW, has anyone seen the documentary "Capturing the Friedmans"?

Which happens to be another one of my favorite films. One Sturges' best in my book.

Wow, this looks close to essential. There goes my vow to lay off the CD purchases.

And of course, there's always The Thin Man The Honeymoon Killers Red Sorghum The Plot Against Harry Metropolitan Diner Bob le Flambeur Force of Evil Time Is All You've Got (Artie Shaw doc.) Fast, Cheap, and Out of Control Grand Illusion Rear Window Singin' In the Rain

Alan Greenspan??? If true, I wonder what type of jazz he listens to. Odd to think that the next jazz album you listen to may have been played in the background during a meeting of the Fed.

Dr. J, I only had a vague sense that this had been a problem at Blue Note for years. It really only jumped out at me with the RVG's. Perhaps because they're presented as a prestige edition I expected them to actually spring for a proofreader for once. The whole situation is both kind of absurd and sad. If Blue Note is owned by a bigger label (which it is), you would think that they would have enough professionalism to provide the money to edit/factcheck/proof the liners of their subsidiary's re-issues. Do they not want to be in the music business? More likely they think that the anger of a few thousand (few hundered?) jazz fans don't amount to a hill of beans in this crazy world.

Another thing that bugs me about the Blumenthal RVG liners is all the damn mistakes! I mean like typos, spelling/grammatical/syntax errors that would have been cleared up in a second if anyone had proofread them even once. Hasn't anyone at the modern Blue Note heard of EDITING? Tripping over mistakes like this makes the notes an actual chore to read, which is perhaps why I barely glanced at the new liners for the latest RVG's. Just my two cents.

You're starting to make me glad that I don't have a daughter.

Hey, I'm not knocking Iowa! I've got relatives there and visiting them on Summer vacations were some of the happiest times of my childhood. It's just that, despite the Bix/Farmer/Miller connection, when you think of Iowa you don't automatically think "hotbed of jazz."

I'll drink to that! (And I'm not even a drinking man.) B)

My Man Godfrey, Holiday, The Third Man (British version), Rules of the Game, The Seven Samurai, Chinatown, The Maltese Falcon, The Day the Earth Stood Still, T-Men, Mr. Hulot's Holiday, Out of the Past, The Lady Vanishes, Laura, The Hot Rock, L.A. Confidential, The Iron Giant, Kiki's Delivery Service. Those are a few favorites. Dave, I'm with ya 100%----Bogart, screwball comedy, Cary Grant...YES!!

This is fascinating. Up until now, I never would have thought that Iowa City had a "jazz scene." But it is a college town, after all.

What say you folks about an album by Monterose called "The Message" (1959)? They spelled his name right, first, and second he plays with Tommy Flanagan, Jimmy Garrison, and Pete LaRoca. A year or two ago I saw this album on vinyl and grabbed it. I'm glad I did.

This was also one of my first jazz organ albums, but I haven't listened to it in years. After reading this thread I'm definately giving it a spin tonight!

No, I wasn't serious, it just seemed appropriate somehow. I see that cartoon guy as sort of the spirit of Beat meets the spirit of middle-aged Bop. I think they're fun covers, actually. Those Mode paintings now, that's a different kettle of fish. The portraits do have a rather unattractive-to-downright-creepy quality. But the ones of the musician(s) in medium shot, against a white background, aren't that bad. I'm thinking of the Eddie Costa and the Pepper Adams 5. A little bland perhaps, but not objectionable. In fact, there's something I really like about the Costa cover, perhaps that he's shown playing his instrument.

Growing Up All Wrong by Robert Christgau The Big Splat (Or How Our Moon Came To Be) by Dana Mackenzie

Why that's Bill "B" Bop of course.

Kenny---Pleased to hear that you're first Mosaic experiance was a pleasant one. But the black boxes, b&w photos and so on...that's all a part of the Mosaic aesthetic. It's like, they want the music to do the talking, not the packaging. Personally, I find their black boxes to have a certain austere beauty; very compelling to the Puritan in me. And you usually can't fault their liner notes! Different strokes I guess. Enjoy!