Late

Right — I just meant that the first in this series started appearing, at least where I was looking, around 1990, which is why I typed "and then some." I definitely agree with you on the sound. The purple-and-yellow is generally a give-away for great sound! How many were there? Do you have any idea, Lon? Weizen — I agree. That Ronnie Ball session is (using my best Napoleon Dynamite voice) sweet! I missed out on too many of these. Didn't pick up the Cecil Payne (argh!), some of the Klooks (were there more than one?), and the Al Cohn. Would also like to hear the Herbie Mann with Eddie Costa. Thankfully, I snatched up all the Bill Barrons. Love those.

This has got to be one of the best jazz reissue series in the last decade, and then some — and perhaps with the lowest profile! They seemed to just suddenly appear, a lot of them, and at decent prices, and then ... slowly vanish. I have a fair number already, but then I'll see one used in a brick-and-mortar, and say: "What? I didn't even know about that one!" There isn't any place on the web that has neatly cataloged this series, is there? What are/were your favorites? I have a special affection for Perry Robinson's Funk Dumpling.

Instead of making a new thread, I thought I'd bump this one up with a discographical question on a recording of Payne's. I'm trying to figure out the songs and personnel from Cecil Payne's 1956 Signal recording, simply entitled Cecil Payne. The catalog # is Signal 1203. Half of this session had Kenny Dorham, and I have that part, but I don't know the other half. Anyone here with the original vinyl? I'm assuming this album is comprised of two different sessions, but I could be wrong ... Thanks for the help!

I have two RCA's (All I Want to Do is Swing and I'm Still Swingin') and the two Prestige dates you mention above. I forgot about that Mercury session! Anyone have this one? (Microscopic cover attached below.)

Maybe you should just write to Fresh Sounds? Jordi has left specific instructions at his Andorran post office box not to accept various breads. I'd rather see it come out "officially" on EMI as well. Always the possibility of bonus tracks that way.

This one was also for RCA. I haven't heard it, but I bet it's not bad!

Dig this cover ...

That's the only Tony Williams album on Blue Note that's not out on CD yet, right? I'm a bit saddened that Louis Smith's Smithville did not make the final list after all. Maybe next time. Tony Williams' Tokyo Live came out as a 2-disc set in 1993. It received a 4-star review in DownBeat (along with Gary Bartz's Shadows, also 4-stars) at the time. I agree — the Louis Smith is very nice.

Agreed. It seems like, because of that, he would have fit perfectly into a Mingus ensemble. Mingus would have loved (or perhaps did love) the way Joe could growl and squawk on the horn, and then slide right into a nice bop line.

It seems like Clark Terry gets the limelight, and Joe Newman — to my ears on par with Terry's playing, but considerably more interesting — gets the shadows. Any thoughts as to why? Fans of Joe Newman here? What records need to be sought out? I have only four at this point, in addition to numerous sideman appearances.

I agree, it's probably too risky — especially because Fresh Sounds reissued one of the Pomeroy large group recordings already. Now the Gil Fuller idea — the Spanish pirates have yet to pounce! I'll have to write Cuscuna again, and tell him that I'll mail a freshly baked loaf of banana bread (*) to the Mosaic office if he'll mull it over some more. * Goes well with Irish Breakfast tea.

Add this to the mix: $5 off $30 coupon code: F5P3VE7 :bwallace2:

D'oh! I knew I'd read it, but forgot which thread. Thanks Chas. I see Cuscuna didn't bite on my Complete Pacific Jazz Gil Fuller Recordings idea. Or the Complete United Artists Herb Pomeroy Recordings. Ah well. Maybe in 2039. No interest here for the Smith, Turrentine, or Clarke, but I'll be picking up the others.

I don't have the new Japanese reissue of this one (yet), but, you're right, the 80's edition sounds terrible. I just listened to it, after listening to Bean Bags, which sounds great, and I went from to . Koch did a really nice job on Atlantic sessions when they were reissuing them. The Lee Konitz and Warne Marsh, for example, sounds especially transparent and rich. I don't know if it truly makes a difference, but Koch's use of HDCD encoding (and consequently my player's ability to read it) added up to some brilliant reissues. Sometimes, though, I think I just like to see the little red HDCD light pop on — so I can say, a la Homer Simpson: HDCD.

Don't mean to be anti-climactic, but I know a recent list of the June Connoisseurs was posted somewhere here (I read it!), but now I can't find the thread where it was lodged. If someone feels like copying the list here, that would be great. The old 2007 "Wish List" thread is huge, so maybe we could also start a new discussion here of the upcoming Conns.

Anyone here have, or tried, the Klipsch ProMedia Ultra 2.0 System? Here's the page for it. A sub-less system, but it looks like it'd do the job for my small workspace.

What do you guys think of Brubeck Plays Brubeck? I'm listening to it right now, and, while I could see myself calling it "boring" at times, some of the numbers are fairly affecting. Nothing that will change your world, but nice with a snifter, the sky black outside.

Do you have a source for this information? I only ask because I don't think the Zoot Sims and Cecil Taylor titles I mentioned above were ever remastered in 20-bit — or reissued in paper sleeves. It's possible that I'm wrong, but I know I would have purchased them if I'd seen/read about them in this format! Thanks.

I thought there was an old thread on this album, but a search only yielded Wayne Shorter threads and Chuck Nessa threads. At any rate, I still don't have it, and thought I'd ask for some opinions/discussion here before I forked over the dough.

Oh — and finding out-of-print hatART titles for $11.99 there wasn't so bad either! I never thought I'd see Lacy's Remains or High, Low and Order in my paws, but one strange day Tower Online listed them. Scooped 'em up pronto. A few days later, I went back for a Braxton (Orchestra (1978) Köln) that was currently selling on eBay for an unpleasant price.

Good riddance. Tower wasn't such a bad thing in its day. As recent as 1999-2000, you could find new copies of the original Blue Note Works TOCJ series for $13.99 online. They weren't always listed with a "JPN" -- you had to do a catalog # search to draw some of them up. At any rate, with some coupons (and there was always an online coupon for Tower to be found), a person could build a nice-sounding library. Occasionally, they would mis-price stuff online, and that was cool too!

For those that may be interested — • Coltrane & Cherry: The Avant Garde The sound's not so good on this one — sounds like a fair amount of compression was used. This session probably never sounded too good to start off with, however. The bass booms on most of the session. • Tony Fruscella: Tony Fruscella Excellent sound. Way better, as to be expected, than the Spanish Definitive version. Maybe an earlier (while not the original) tape generation existed for this one? At any rate, the Japanese engineers have worked a small wonder with this one. If you like this session, a sonic upgrade (if those things have meaning for you) is confidently encouraged.

Evidently the brick-and-mortars are. But Tower Online isn't gone. I actually had a fairly lengthy telephone conversation with a (or "the") manager of Tower Online. It was an 800 number, but I think the online "office" is still based in Sacramento. At any rate, he said that, for the forseeable future, Tower Online will still exist — as a separate entity from "Tower Records," meaning brick-and-mortars, which of course is essentially gone at this point. This is actually good news, but I wonder at its credibility. Nevertheless, if you need to plug some holes in your Classics collection, now's the time! I purchased the Kenny Clarke 1946-1948 for $11.99, and it just shipped.

Good to see Zoot! and Looking Ahead make appearances. I don't think they've actually been part of earlier Japanese Prestige series. If memory serves ...

I like this session overall. Some tracks don't work for me ("When Malindy Sings"), but the tracks that do work, really work. "Retribution" is particularly affecting. It's a "vocal" album that has stood the test of time. More than anything, however, I think it bears the stamp not of Lincoln, but of Roach — his musical concerns of the time, and the way he wanted to present "his" music through Lincoln. She seems amenable to it (at least on record), and sings with a poignancy that you don't hear on the earlier Riverside session, for example. From here, it's good to go to the Roach Impulse! dates with Lincoln on them. I think I may like those even better.