Late

The only Biber I've heard is Manze's, and while I like it allright, I'm not fully sold. Manze's Tartini on the other hand — I think it's pretty hot. Manze's Pandolfi: impassive. Then hot again with Uccelini. I sound like Paris Hilton.

Has anyone heard this new reissue? Bards

Thanks for the link Chas. Hadn't read that article. A friend of mine used to live on Ocean in Venice.

It could very well be that I'm so used to the 20-bit K2 masters that the DSD remasters just sound "different," and I'm not used to them yet. I'm sure my ears will adjust a little, but the DSD's that I have that were originally on Contemporary seem (to me) to not have that great DuNann sound, which I thought would flourish in the DSD setting. I told myself a while ago not to go (again) down the "sound junkie" road, and here I am strolling along — and my system's probably not sensitive enough to really reveal some of the finer subtleties ...

This probably has already been posted somewhere here, but it's worth posting again: Lee Santa's Photography Some very cool photos of Sun Ra, Ornette, Pharoah, and others.

Any love for John Ogdon's take on Scriabin? I haven't heard it.

Joe? Or the holiday. We're only ten months away you know.

Up for Christmas.

A good documentary for sure. I think Rollins' compulsive strolling on the bandstand accounts for some of Cranshaw's off-tempo-ness. I'm not sure how well the musicians could actually hear each other. One way the doc enhances the actual performance is that one gets to "see" what circular breathing looks like. I understand how circular breathing works physically, but I was never able to even come close to doing it. A side note: "jazz" and working out don't initially seem to go together, but the track "G-Man" is almost perfect for the (home) gym.

G-Man has always been a perplexing album to me. On some levels it's deeply flawed: • Cranshaw's out of tune and sometimes wildly off tempo. • Smith seems to overplay a lot. • Soskin and Anderson are ... expendable? And on another level it's an album of epic and heroic proportions: • Unyielding and repeatedly rewarding tenor saxophone solos. I can't enough of Rollins' solo on the title track. I can't even exactly explain why I think it's great, e.g. as far as musical devices or thematic content. It was a live gig, 1986. Rollins broke his heal jumping off the bandstand and kept going despite the pain. Fudge. Anyone here feel the same enthusiasm? If so, maybe you can explain what that something is about the album's monstrous tenor soloing. On the other hand, I suppose some might be unmoved by this record, and it'd be interesting to hear those thoughts too.

Whittington auditioned for Miles' group circa 1963 when Davis was in Hollywood. The gig went to Victor Feldman, but that's no slight against Whittington's abilities. The only Gordon I have is the date with Donald Byrd on Transition. I'll listen to pretty much anything with Kamuca, so the slab goes on the list.

How about 'Meets The Rhythm Section'? Can you rate that one? good, bad ...ugly?????? ......or the Kenny Drew Trio? Haven't heard the Drew, but Meets The Rhythm Section is pretty good. I haven't heard the K2 of that title, but would like to for comparison. For some reason, the DSD remaster of Meets sounds the best (to me) on the bonus track. The DSD Pepper-Marsh title I'd recommend without hesitation: doesn't sound scrubbed. I guess my main gripe with these new DSD remasters is that I don't always hear the "air" between the instruments as you often can on the K2s. One interesting thing, however, is that these DSD remasters appear to not be overly compressed. The volume level is actually quite low. Again, these statements are made only after listening to (and owning) seven of the titles.

Cool cover, but ultimately skippable. Scenario: Fresh Sounds Crew at the office ... "Hmmm, wonder what we should bootleg this week." "Well, what legitimate CDs do you have in your car?" "I dunno. They're all CDRs." "Hey, we can still burn those ... "

Bob Mover: The Night Bathers, with Paul Bley and John Abercrombie Mover worked for a period with Mingus in 1973.

Charlie Parker's step-father played the slide trumpet. He was dubbed "Ostrich," which perhaps explains in part why his career as a musician never took off.

Yes indeed. Here's what I have down so far for the rest of the year: 2-25-08 Media Dream 3-15-08 Live in Rome, 1980 3-15-08 Live at The Newport Jazz Festival, 1969 & Live at The Electric Circus, 1968 4-25-08 Sleeping Beauty 5-15-08 Live at Santa Cruz Civic Auditorium, 1974 & Pacific Radio Interview, 1968 6-15-08 On Jupiter 8-15-08 Stars that Shine Darkly 12-15-08 Beyond the Purple Star Zone Information according to The Bards. Exact release dates are of course never set in stone. Can't wait to hear Media Dream for the first time. Here are some of my favorite Saturns that I wish Atavistic would/could see to reissue: 1. Discipline 27-II 2. The Antique Blacks 3. Omniverse 4. The Sound Mirror 5. Voice of the Eternal Tomorrow Though I love the early Saturns, something about the years 1974-1978 is especially magical. Trance-like at times.

Thanks guys. Keep the recs coming. I have a line on the Sudbin Scriabin, so I'll probably take the plunge. The Hamelin's at the local library, so I'll check it out too.

Hi All, I was wondering if you could list some recommended recordings of Scriabin's music. Would also like to hear some names that I might not know about — e.g. contemporaries of Scriabin, or composers whose music is in the same vein but lesser known. Thanks! L

Ah, thanks. So I've had it pretty much all along with the CD of the Lighthouse recording.

Been meaning to ask: Does anyone here have a scan of the cover art to Joe's If You're Not Part Of The Solution, You're Part Of The Problem? I've scanned the internet without luck and have always wondered what this one looked like.

Buyer beware with these DSD remaster jobs. I've heard seven of them so far — some are just fine, but others (Art Pepper's Intensity for one) seem overly scrubbed and come with tape warble that I don't hear even on the OJC's. These weren't done by Tamaki Beck & Co., and, based only on the limited number I've heard, I'd still recommend the 20-bit K2's. One that does sound excellent: Art Farmer's When Farmer Met Gryce.

Not early Joe, but I've just been listening to "Vis-A-Vis" from Black is the Color. One of Henderson's finest studio tracks. Also, "Caribbean Fire Dance" from the Lighthouse gig. The poop for sure.

Two years ago (on this thread), Slightly Latin took something of a beating. Without diminishing the merits of any of his other albums, I'll go on record stating that this has always been my favorite Kirk record. I think it's too easy to be turned off by it on first listen (what with a Beatles cover, a Bacharach cover, and wordless vocals), but if you keep listening to what Kirk actually puts down as far as saxophone (and kazoo) playing ... damn! To start, check out his tenor/stritch solo on "Raouf" — that's some structure there, Jack. Then check out his baritone saxophone solo on "Juarez" — Pat Patrick watch out! And have you ever heard "Walk On By" ripped up that hard? Bacharach probably couldn't sit down for a month after that version was recorded. The Garnett Brown arrangements and Coleridge Perkinson vocal arrangements put Kirk at ease to have fun and swing hard. It seems to me Kirk's most natural element. Mañana!

When I go back to Strozier, I like what I hear, but am never fully knocked out ... until I play Fantastic Frank Strozier. That one always floors me. Something very special about that date; Strozier seems to push himself to the edge of his comfort zone. Right before Hank Mobley joined Miles' band, Strozier was the second horn for a brief stint. Too bad there's not recorded evidence of that group (to my knowledge).

That concert sounds like it was a bitch ... in the best of ways. Put me down as a Dixon fan, even if his trumpet playing still confuses me.