Late

The Japanese edition of this disc has 13 bonus tracks! Unfortunately (depending on how you look at it), these are all Freeman tracks — which is certainly not a bad thing. But it would have been great to get a few unissued Twardzik sides.

Ubu, Yes, a Mosaic Select would be grand! It would give more people a chance to hear the scant appearance of Jean-Louis Chautemps on tenor from these sessions. I know that Chautemps matured into a player with a greater mastery of the horn after these recordings, but the February 1956 date catches him at an awkward, but nevertheless intriguing, angle — loping eighth notes, a dusty tone. I actually quite like it. Dig the short (2:29) "Anticipated Blues" — perfect for putting on one's answering machine, or at the end of a mixed tape. The original 1988 Polygram France cd's of these recordings have always sounded good to me. Has anyone A/B'ed the '88 Volume 1 with this latest edition?

Very cool that the original cover for this session is finally being used. Too bad that a Complete Chet Baker Barclay Recordings package couldn't be put together. Volumes 3 and 4 from this series are exceedingly rare.

John — for what it's worth, I have the JRVG of Volume One, and the text is vertical. I used to have a vinyl copy, and its text was horizontal, however. I actually prefer the veritcal text ... if given a choice. At any rate, I think Moving Out may be one of Rollins' most under-recognized sessions from his so-called "golden period" of 1951-58. On the surface, it seems like any other blowing session (up-tempo meters, bop changes, some bop clichés in the solos), but Rollins is in such good form that his solos — paradoxically — seem to stand outside bop cliché right when he's got his foot in the middle of, say, "Sailor's Hornpipe." Hard to explain, but it's almost as if Rollins was born to play using this language, it comes so naturally out of his horn. Then, when we get to "Silk 'n Satin" — it must have made Coleman Hawkins smile to hear that. The speaking eighth notes that Hawkins plays ... all right here, and with Newk's personalized inflection. The notes can be transcribed, but that feeling is un-transcribable. Just beautiful. If you have this disc, spin it tonight or tomorrow (or whenever), and let me know what you think. And I didn't even get to the fact that Blakey doesn't have his hi-hat (which I actually really like) for this recording, or that Elmo Hope may have been the perfect choice for this session. Or that Kenny Dorham is in a most lovely Diz-like frame of mind. Or ... I could go on!

You might want to check out this one. Information here.

It's true.

Rats! I just checked. The Hicks is available, though.

Noj, check out this thread. Hopefully those albums are still available!

Damn! Now I want to hear both (or either) of these sessions, unedited or edited! I listened to Hall just yesterday on Grand Encounter — deceptively simple, and beautiful, stuff. I wonder how far down these sessions are on Cuscuna's list.

I've always wanted to hear this one. Have never seen it in the used bins, and don't know that I could afford it if I did. Maybe Universal Japan will get to it ... some day? Share your story on your impressions, brother!

(Sound of Horseshack laughing.)

This was the one I had: When the gutters used to ice over, I used the poor thing as a bowling ball. It could slide about a third of a block. My brother had a Roadrunner box, but never subjected his to such lunacy. Bev — The Complete Buddy DeFranco Verve Sessions ... brought to you by The Human Torch, The Thing, Mr. Fantastic ... you get the picture. All Verve would have to do is slap some instruments onto their torsos. The question is — who would Sonny Clark be? And how would the thermos be used? Maybe the liners would be rolled up and stuffed there — the ancient Ira Gitler Scrolls!

Me too. I never tire of this session.

Yeah, I'd love to see Rudy remaster sessions from the first half of this page. Goodness!

Involution is a great Andrew Hill session. In fact, when there was a poll (one of the zillion, ) on "What is your favorite Andrew Hill session?" I think I was the only one who voted for this recording. Both Hill and Rivers are in top form, but it's the rhythm section that really makes it for me. Walter Booker sounds unusually serpentine, and J.C. Moses mixes it up unlike any other drummers did when working with/for Hill. Something in me is also attracted to the tune titles — simple, yet poignant. Hell, Mike Weil has already created cover art for this one ... let's see its reissue as a single disc! (Standard note: It was part of the Mosaic, blah blah blah.)

Wondering if anyone has this one, and what they think. On paper, the session looks great. Any opportunity to hear more Harold Vick seems a good opportunity.

Man, that is a mess! Here's how Mundo is listing the current Japanese edition on compact disc (sadly without track times): Jazz Guitar brand-new CD (Pacific Jazz TOCJ-9318) recorded on January 10 & 24, 1957 limited LP style paper sleeve edition 24bit remaster +1 bonus track 1. Stomping At The Savoy 2. Things Ain't What They Used To Be 3. Thanks For The Memory 4. Tangerine 5. Stella By Starlight 6. 9:20 Special 7. Deep In A Dream 8. Look For The Silver Lining 9. Seven Come Eleven 10. Too Close For Comfort (bonus track)

TOCJ 66011 Call it what you want — "prebop," "trad," "really the blues," "beans 'n checkers" — it doesn't get much better than this. This classic Blue Note side, reissued in Japan on compact disc (1998) with seven additional tracks and now out-of-print, might just be the record to convince a person how astonishing this brand of improvised music truly is. Not only that, for the sonically finicky it offers incredible (for a wax transfer) sound. Recorded 1943-44, the disc presents three "Blue Note Jazzmen" congregations: Edmond Hall's Blue Note Jazzmen 1. High Society 4:00 2. Blues at Blue Note 4:11 3. Night Shift Blues 4:07 4. Royal Garden Blues 4:06 5. Blue Note Boogie 3:54 Sidney de Paris' Blue Note Jazzmen 6. Everybody Loves My Baby 3:31 7. Ballin' the Jack 4:44 8. Who's Sorry Now 4:14 9. The Call of the Blues 4:18 James P. Johnson's Blue Note Jazzmen 10. Tishomingo Blues 4:32 11. Walkin' the Dog 4:30 12. Easy River 4:33 13. At the Ball 4:08 I'm guessing that most, if not all, of the above tracks have seen compact disc reissue elsewhere (deleted domestic Blue Note, Classics, ASV, etc.), but, with this particular track order and without repeated tunes, there seems to be something special about this particular disc. Maybe it's just me being giddy over these particular recordings, but hopefully I'm not alone. And ... it looks like a new copy of the above is available here.

Up for some refreshing reading. Here is the cover of the Columbia session in question: And Jaspar's RCA date with René Thomas: Can either of these be found on disc nowadays? The Jaspar Vogue sides reissued by BMG Japan back in 1998 (original cover art, no bonus tracks, very short running time) are some of best sounding Jaspar recordings I have — but, truth be told, I don't have many. I love Jaspar's playing with the trombonist Nat Peck, particularly on Andre Hodeir's "Paradox" — and there aren't even any "solos" on this track! His session with Henri Renaud recording Gigi Gryce tunes is also priceless.

Unless I haven't been reading carefully enough, I think we forgot about Charlie Ventura! I dig his sides on Verve, where, in addition to the bari (and tenor), he plays some wild bass saxophone. A fun player.

I used to buy "Sultana Bran" when I lived for a short while in England. Looked similar to the stateside "Raisin Bran" — purple box and all. In fact:

I'll second the recommendation of the Ken McIntyre UA session. If you can find that puppy, pick it up! My favorite "with strings" album.

I yen for yen to spen(d).

... and speaking of "West Coast" baritone saxophonists, how about Vinny Golia? Though he's essentially (or strictly) a multi-instrumentalist, for some reason I always hear his "main" horn as being the baritone saxophone. I haven't spun his stuff in a long time, but remember quite liking Against the Grain and Nation of Laws.