John Tapscott

Everytime I read something like this, I'm sad. For the true jazz fan, there's nothing like going into a speciality store or the jazz section of a large retail chain, hunting through the bins, and chatting with the jazz-loving clerk or other customers, and swapping recommendations. I've had a great time doing that over the years and made a few good friends that way. Sad to see it go. But I have to blame myself too, because the majority of my purchases over the past 5 years have been from the web.

I don't think Life at the Half Note is much further out than the VV. Haven't heard the VV box lately but I've been locked on ODOU. I actually think the music is more cohesive than the VV.

It does seems a bit odd, but sometimes it happens that when all the music is packaged together it gives it a sense of cohesion that can not be present in one session . For me, a perfect example of this is the Elvin Jones Mosaic set. There are albums on that set that I wouldn't give five stars on their own. But I would give the set itself 5 stars. When all the individual sessions are heard in sequence, a unity emerges which makes each session somewhow shine more brightly.

Same here in Southern Ontario which generally has Michigan-like weather. Today freezing rain.

Right now disc 1, then on to the rest!

Well, you'd think one official ought to have that specific task.

This is one of the reasons I think the whole video reply/challenge system ought to be scrapped. The officials can get it wrong on video replay just as much as in "real time." Calling plays as they happen has always (up until now) beeen part of the game. Just keep it that way. What they're doing now is just as controversial. I really can't see any gain from it all. The other thing I really dislike about it is the time it takes. Whenever a coach throws out a red flag I groan. Isn't it supposed to be 30 seconds that the official has to look at the replay and make a decision? But whenever there's a challenge I can go out to the kitchen for a couple of cool ones, start supper (and maybe even eat it) , listen to a 20 minute LP side, and come back and they're about to make a momentous call and start play again. Well, I'm exaggerating a bit, but they take WAY too long.

They were flat since San Diego spoiled their perfect season. I tell you, everybody looks at Manning and Brady and a few others, but this kid Roesthlisberger is the real deal. 15- 1 in his rookie year, and this year, Pittsburgh would probably be playing at home in the playoffs if he hadn't missed a few games. He's cool under pressure. I kind of like the Steelers chances in Denver. And get rid of these cursed challenges. Just let the call on the field stand, for better or worse.

Good thing Rothlisberger got him in the knee! Go Steelers!

I checked both cduniverse.com and amazon.com hoping to listen to some samples. Nothing there. I know it's not the kind of set you can really "sample," but is there some site where I can hear a bit of this? Thanks

I think those you listed would more likely be Conn candidates. It will a long time for the Jones' sessions as they are currently available as part of the Mosaic set (a fabulous set, BTW).

It's up there with 'Soul Station' and 'Roll Call'. One of his very, very best. Agreed. It's excellent. I have it on LP, and I've decided at least for this year not to get anything I already have on another format. But it will still be around in '07!!!!

Ordered Anthony Wonsey's New SharpNine release. "The Thang".

Happy Birthday from north of the border!!!

I am but one of some people who think that the advent of Mr. Marsailis is precisely when "jazz" began to die. Jim, I think you give too much weight to Mr. Marsalis. I do not consider WM either the "saviour" or the "destroyer" of jazz. At that particular juncture in jazz history, say 20 years after Coltrane's death, and probably 100 years after the misty beginnings of jazz, someone like Marsalis coming along and digging into jazz's history was was probably inevitable. After all, lots of young players were doing it before WM and lots did it after, and lots will continue to do it. The only difference was the WM had a fairly high public profile. But how exactly did the advent of this one man cause jazz to die? He didn't actually STOP anyone from playing or recording or listening to more cutting edge jazz. There was still lots of it out there. You think it was selling lots and getting lots of airplay before WM came along? If jazz began to die, it was the author of its own demise. Now I'm no great defender of WM, but it seems to me that if you're going to do some cutting edge jazz or "move it forward" (whatever that means), you'd better have a pretty good understanding of its past. One of the things that gives credibilty for me to a lot of Coltrane's 65-'67 music, and at least causes me to give it a good listen, is that you know this guy was rooted, and man, could he play the blues (one of the greatest blues players in the history of jazz, IMHO). Don't know much about Turner or Rosenwinkel, but from what's I've heard of Chris Potter, I think he's pretty solidly rooted. Joe Lovano, too, who I think is a good model for a creative jazz musician in this time - rooted in what's come before and not afraid to go there, but also not afraid to push the envelope sometimes, either.

Well, it's not old if it's being released legitimately for the first time. And where would you start/stop? What is considered old? Something recorded in 2000 but not released until 2005? Where is the cut-off point? In terms of competing against dead atrists - of course, in a sense that's true, when it comes to CD sales. But Parker, 'Trane, Gillespie, Monk, et al, aren't going to suddenly rise up and start competing for your gigs at your local jazz club or next summer's festival. As far as CD sales go, I don't think to myself, "Well now, I'm buying Live at the Half Note, so I won't buy a CD by a living artist." As it is I have far more music to listen to than I have time to listen to it - if that makes sense. In fact, if it's something I want by any artist, I usually find a way to get it. I am not totally convinced that these historical CD's take away all that much from current, living artists. In fact, in the long run, they may increase the overall interest in jazz music. In terms of listing the top ten, the only responsibility should be to list and celebrate your favorite ten or best ten as you hear them, from whatever era. Sorry. Maybe 2005 was just one of those years when there happened to be a overlload of very significant historical recordings that couldn't be ignored.

Happy Birthday Nate, from just around the corner (at least in Organissimo terms) !

Yes, I have. Great, swinging stuff!

Count Basie Roulette Studio - All of it, but at the moment disc 4.

You bet. She has recorded a boatload of CD's. I have 15 of them, but I'll bet there's another 25 out there I don't have. Anyway to answer the question- vibraphonist Joe Locke.

Thanks for the info. Just ordered the Hill and the Morgan.

This whole Board has screwed up my entire budget!

I recommend not worrying about it. If a disaster like that struck your house, I'm sure the good folk on this Board would be eager to help you out with some CDR's. Count me in.

John Coltrane - One Up,One Down - Live at the Half Note (Impulse) Dizzy Gillespie & Charlie Parker at Town Hall 1945 (Uptown) Stan Kenton and the Los Angeles Neophonic Orchestra - New Horizons - Vol. 1 (Tantara) Joe Locke & the Milt Jackson Tribute Band - Reve-lation (SharpNine) Don Menza - Menza Lines (Jazzed Media) Thelonious Monk & John Coltrane - At Carnegie Hall (Blue Note) Johnny Richards Select (Mosaic) Carl Saunders - Can You Dig Being Dug? (Itsus Jazz) Bud Shank & Phil Woods - Bouncin' With Bud (Capri) Walt Weiskopf & Andy Fusco - Tea for Two (Criss Cross)