Late

Easy with the handle on yourself. (Sorry, kidding.) I don't know his soundtrack work, but am certainly willing to explore it. Thank you, by the way, for sleuthing out and posting such relevant, and interesting, YouTube videos. Received the Sketches disc today in the mail. (No Death Cab sticker therein. Whew.) Haven't listened to it yet, but am super-excited to go through it with Gogol's Complete Tales, which the Schnittke work is directly based on. Gogol is actually new to me, I freely admit. But, hey, a person's never too old to discover classic literature!

This one won't be to everybody's taste, but I'm really enjoying it. Perfect tonic for Wispelwey's latest effort. Documentary on Segev and the Suites.

We can thank Orrin Keepnews for that, as he was the reissue producer for that disc. He did include the rare bonus track "Desolation" (from Tenor Stylings) at the disc's end, however. (The Japanese market didn't include that track when they reissued the album on disc as COCB 50612.) Here's what's missing from the U.S. edition: Track 5: Noodlin' Track 6: Duality Track 7: Self Portrait Track 8: Persian Street Scene Tracks 1-4 are the suite, listed on the back of the LP as "A Jazz Suite From The New Soul." Barron also made a point of calling each composition a "Reflection." Each side of the LP, as a result, has four "Reflections." I actually find tracks 7 and 8 to be the best tracks of the album. The suite contains excellent soloing by Barron, but the ensemble parts needed additional rehearsal. Ted Curson and Jay Cameron do their best, but the end result is not exactly sloppy, but, well, under-rehearsed. Motivation of course is an entirely different record. Everyone at Organissimo (and beyond) who likes Barron should hear it. Recorded circa 1972 (the exact date is apparently unknown), it features all original compositions by Barron (one by Kenny), and extremely focused soloing. Here are the details: Date: ca. 1972 Location: New York City Label: Savoy Bill Barron (ts), Kenny Barron (p), Chris White (b), Al Hicks (d) 1. Motivation (Bill Barron) 10:22 2. Land of Sunshine (Bill Barron) 3:26 3. Blues for R. A. (Bill Barron) 6:15 4. Cosmos (Kenny Barron) 9:47 5. Hold Back Tomorrow (Bill Barron) 5:12 6. Mental Vibrations (Bill Barron) 4:01 All titles on: Savoy LP 12": 12303 — Motivation This is truly an undiscovered gem. It has not seen compact disc issue anywhere — not even on the grey market or the nachosphere — so Jonathan could be the first to put it out. Saxophonists would be all over it. And anybody who, say, is into Joe Henderson's Tetragon would probably like it very much. The darn album isn't even on YouTube ...

Cries out for the Horwich remaster.

Finally ordered Concerto for piano, four hands & Concerto for piano and strings on Apex. Got it in the mail today, and under the cellophane was a sticker that read: DEATH CAB FOR CUTIE Includes: I Will Possess Your Heart Ouch. Also have this one coming in the mail: The sound samples were too much. Had to have it. When Schnittke is fun, he's really fun. Thanks too for posting Ballerina On A Boat above. Thoroughly enjoyed.

For those that don't go in for vocalists, this disc provides a fine demonstration of Johnson's art in solo format ...

This box set has become one of my favorite Mosaics. Never mind historically important — this music swings and makes you feel good. I've also found that non-fans of jazz like it. It works well at parties or just listening to it alone with a cup of coffee.

How does the new set sound in comparison to the RVG edition? Who remastered the new set?

If you go through the Mosaic discography (James P. Johnson's) scanning for vocalists, and then go to YouTube, you'll find a large number of the tracks there (usually from Document discs). You can sample whole songs and see if you like/don't like the vocalists. (That's what I did at least.) Bessie Smith, Ida Cox, and Ethel Waters aside, there's: • Lavinia Turner • Sadie Jackson • Perry Bradford • Rosa Henderson • Martha Copeland • Gus Horsley • Clara Smith • Eva Taylor • Spencer Williams • Andy Razaf • Chick Bullock • Anna Robinson • Ruby Smith The piano playing is killer throughout.

Check again. That's Royce Evans, one of the few castrati to make into the 20th century.

Thanks. I just ordered a copy from The Squid.

Another carp. Like the fish.

How much is Dusty Groove charging for this title? The "out of stock" tag prevents seeing the purchase price.

The Cuber is an excellent hardbop session, the Coker will not be for everyone, and the Cohn/Dex I think is an above average jam session — it's also a Blue Mitchell/Sam Noto record. Barry Harris gets some fine blues playing in there too. But the main attraction of course is the tenors; both are in top form if not necessarily pushing their limits.

Yesh.

Carpe el diem.

Browsing the Coltrane discography, there are a number of unissued studio recordings originally made for Impulse! • April 21, 1966 - four unreleased studio tracks • April 28, 1966 - two unreleased studio tracks • February 27, 1967 - two unreleased studio tracks • March 29, 1967 - six unreleased studio tracks • May 17, 1967 - two unreleased studio tracks Coltrane's last session in the studio (May 17, 1967) yielded the tracks "None Other" and "Kaleidoscope." I wonder if he titled them himself.

Well, I don't have Sennheisers, but I do have a pair of AKGs! Good point about the stereo separation. I'll check again. My copy of Expression on compact disc is a German edition from 1987 (254 646-2), which sounds flat-transferred. Pretty quiet, but when you turn it up it sounds decent. I listened to the whole program just two days ago. While I can probably ultimately live without "To Be," that album is much better than I've given it credit for over the years. "Offering" is one of my all-time favorite Coltrane tracks. Thankfully, it's on the Stellar Regions SHM-CD! Sounds great there. The title track ("Expression") is also excellent.

I took your advice and listened to the sound samples. The Japanese edition contains the correct version of "Big Nick," but I couldn't tell from the samples if RVG did the remaster for the Japanese edition (or if the remaster is based off RVG's). I've been listening a lot recently to Coltrane, Living Space, and Transition, and wishing I was alert to the 2011 SHM-CDs back in the day. But, as with most Japanese issues, patience is required — they'll likely be reissued (again) in the next couple of years (maybe Coltrane's 90th?), and hopefully contain either new or the 2011 remasters. "Untitled 90314" and "Untitled 90320" are both so damn good. I've had Living Space now for 17 (!) years, and I'm finally paying very close attention to the soloing and ensemble. I wonder how these tracks would be regarded had they been titled and issued when Coltrane was alive. And I wonder what Ravi still has in the vaults ...

Does anyone here own UCCI 9200/1 — the two-disc SHM-CD version of Coltrane? I'm wondering if it contains the same RVG mastering as the U.S. edition.

Phipps: Not Jackie, but a good album nonetheless. Nice to hear Barrow stretch out. (He's the phantom participant on Blues & The Abstract Truth.)

I'm not feeling the checked tie + checked shirt, but Trane knew things others did not ... But back to Jackie. Today I listened to: in its entirety. This is actually a much better album than conventional wisdom regards it as — i.e. historically not insignificant, but also passable in the grand scheme. But listen to the solos. None of them are throw-aways. This was a working band at the time, and it seems one that was hoping for a break. Everybody's slightly careful, but to good effect. Webster Young puts forth his best tone and is thinking Miles (perhaps via Fats) all the way. Jackie seems like he's trying to avoid all the Parkerisms that Mingus hated, and Ray Draper is more delicate than he is on the Prestige sessions. Gil Coggins sounds positively Monkian, and check Larry Ritchie — what happened to that guy? There are lots of references to contemporaneous music of the time — quotes of Sonnymoon, Miles licks, and Philly Joe Jones-isms. This band was tight, and they were gigging in Newark. I wonder what they sounded like live. If this album were on Blue Note, it wouldn't be as under-remarked as it is.

Checking (again) to see if anyone here has purchased this particular title. $30 is no bargain, but perhaps it's worth the extra paper route $?

Booyah.