Late

The American way ... (I still get my feathers ruffled when I think back on Ken Burns' segment on Cecil.)

OK — I just spent the last two hours listening only to the first three tracks (on repeat). Having listened (for 15 years now? Hard to believe) to the old Novus CD of this material, I must say I wasn't prepared for the sound that came out of the speakers. Carter's horn is amazingly present, almost jarringly so at first, but I think this is because I've gotten used to the boxy and restricted sound of the original CD. The transferred sound is excellent, make no mistake. What's most enhanced, to my ears, is the bass playing of Tom Williamson. Wow! Is there such a thing as a hybrid of Charlie Haden and Ron Carter (without pitch concerns)? Williamson is something along these lines — somewhat like a slowed-down Gary Peacock, perhaps. I envy listeners who will hear the music on this new CD for the first time. Make sure you have some uninterrupted time to yourself. This disc is very much worth close examination. I also would like to ask — who's been living with the vinyl since 1969/1970? I'm curious to hear impressions by this slice of the crowd. Track 3 ("Woman") shows off Bradford to excellent effect. (I'll listen to the remaining tracks tomorrow.) The way his lines bounce off of Williamson's — this is the "underground" (of Los Angeles, for its time) made "above" ground. Description fails, and I haven't even gotten to how much I like Bruz Freeman's playing — almost like Shelley Manne if he'd had an ear for free stuff. Tuneful, even delicate at times, free drumming it is. Not at all like Sunny Murray (who is also tuneful, of course); this is a whole other ball game. I'm very glad this music is out again for listeners to hear and absorb. Tell your friends, hip and un-hip. It feels like a mini cultural event. What do others think? Has the disc come to your mailbox?

Fly! Fly! Fly! Fly! Fly! = 5 Flies Apparently it is a real restaurant, however. I'm not sure I'd want to use flies to help advertise a food service venue though. It is (or was?) a restaurant in Amsterdam, Netherlands. I was a dishwasher there in 1968. Kewl! I was a dishwasher too — my first real job as a music school dropout. But, getting back to Fly! Fly! Fly! Fly! Fly! ... I finally picked up the new remaster. Incredible sound, and the music is wonderful. It's a Taylor record that even Taylor-haters could get into (I think). For Taylor fans, it's like being wrapped in velvet (with drink-of-choice in hand). I purchased my copy directly from importcds.

Received my copy of Flight For Four today. Will listen tomorrow. The product itself is a thing of beauty — just gorgeous. The separate insert containing Ed Hazell's essay on the band is also a very nice touch; not simply well-written, but generally stripped of writerly adjectives, which made for pleasant reading. Informative (who knew?) too. Kudos again to Jonathan for putting this one out. I'll post again after I've given it a close listen. Can't wait for the Tapscott, and hope it's still in line.

I like LaVerne best sans horns. Check out the 1978 Steeplechase duo record with Mike Richmond entitled For Us. There are a few bass solos that go on just a little too long, but there's also a palpable sense of back-and-forth between the two. It's also well-recorded.

http://www.youtube.com/watch?v=f4zyjLyBp64

Maybe stop wearing Larry Jeans ™? (Sorry about the NSFW element.)

I'm sure members here have experienced this phenomena before: You bookmark a page for a certain CD at Amazon (or simply put it in your cart), and then don't buy it right away. Then, if you check back on this page from time to time, the price begins to fluctuate. Usually, it seems, the price goes down for a while, and then — if you don't finally purchase the title — it jumps back up anywhere between $2 and $5. I was checking some Steeplechase titles (always ridiculously expensive) recently, and listening to sound samples. Each disc had a slightly different price — somewhere between $18 and $20. Now, today, every title I bookmarked is $19.39. Is this because I clicked on a title too many times without purchasing? I've always wondered how Amazon's pricing system works, and if there's a program at play. Thoughts?

These two titles have recently been reissued by the Japanese Shout! label (in the mini-LP format). Fans of either record?

Does anyone here have Redd's Extemporaneous on the Interplay label? How is it? Redd gets fairly bashed by Morton and Cook for not being able to "fall back on an absolutely secure playing technique." Hmm. Would you agree or disagree?

Dusty Groove has just re-stocked their Jazzhus titles. The Dauner ("Dream Talk") and Manusardi ("Free Jazz"), which aren't always in stock on Japanese sites, are currently available.

I do have Disc II. Does that count as being (half) a true fan? I've tried to open the "booklet" to that disc many times, always forgetting that it's just a single, unfolded piece of paper. Or at least that's how I purchased my copy (sans the box, sadly). About the missing Lewis track — there are actually two (older) threads on this board in the Discography forum regarding why it was left off. I made a CDR just yesterday — adding the track from the Mosaic back in — and the disc was still under 79:59. I guess, in 1992 (when "The First Day" was released), CDs didn't hold up to 80 minutes? Chuck actually explained the reason for this in one of the older threads. I like Ammons a lot, but I guess — if I had to play favorites — I'd go with Meade. I love his "The Blues," parts 1-5. Goes well with a snifter of (insert choice of whiskey). According to the liner notes (of "The First Day"), Alfred Lion went out of his way to make Ammons and Lewis feel at home in the studio (purchasing their favorite foods was one example). I also didn't know that these recordings were released on 12" (rather than the more common 10") 78 rpm.

Every fan of Blue Note should have this in their collection. January 6, 1939

Ah — thanks! That works for me. I'll use your definition in my head now when I read that word in reviews. (For some reason, I've been seeing it a lot lately.) I gather what you mean about Pears' diction; I think it's also interesting that such exclusivity (as Britten apparently enjoyed, at least when he'd achieved a wider public profile) goes hand in hand with sensitivity and/or vulnerability — i.e. having one's feelings (when one isn't "understood") easily hurt. But I think we share the same feeling — doesn't stop me from enjoying the music. And, as I mentioned above, I'm still a rookie. I'll happily take a long time to absorb Britten's music. (I actually did live in England — though for only three months — and worked in a pub. I came across seemingly all gradations of the English language. What was frustrating was that, while everyone could understand me, I had a hard time making out certain grittier vernaculars. But when I finally memorized all the regulars' drink of choice, I graduated to being a passable Yank. Smiley face.)

True that.

I know what you mean by this, essentially, but I wonder (if you wouldn't mind) if you could put into words your definition of this term? Or at least how you're using it here? I've always found it curious for its negative connotation, and I notice (frequently) its use in the (for lack of a better term) "art world" — particularly poetry and painting. I have the "Britten Conducts Britten" box that Decca put out some time ago (was there more than one?). I like to go slowly (and randomly), and so have only heard about half of it. I do like "The Prince of the Pagodas."

A licensing nightmare, I'd guess. Almost every trio record up until 1968 (I think) is on a different label. There's Debut/Concord, Mercury, Savoy, ECM, ESP, BYG, Fontana/Universal, and probably more that I missed. I've put together my own home collection, and even then I have to keep checking discographies to see if I've missed something. Bill Evans seemed to get all the kudos in the early 60's, while Bley was making just as interesting music.

Both obi's clearly state "Made in Japan." (I'll have to check the inserts to see if they say the same.) Under "SSJ, Inc." at the bottom of each obi it says "BounDEE by SSNW." I don't know what that means. The price is 2625¥. I purchased The Message from CD Japan with a small (return customer) discount, and In Action from Dusty Groove with a store credit.

I think that's a very apt description of Britten's work, particularly the work outside of the operas. Have you seen Teresa Griffith's The Hidden Heart? It's a good documentary, even if one still doesn't learn anything particularly new about Britten. One arc of the narrative, though often couched in implication rather than direct statement, depicts Britten as being not at odds with his homosexuality — particularly when he was insulated by a select group of followers and devotees — but that his inclination toward younger boys, while never acted upon, was indeed a source of torment. Britten's sexual orientation, however, is not the documentary's primary focus. This is just as well, because his music offers so much to explore. This disc: is very much worth checking out. It's a mono account (the first?) of the Serenade, and I think it's excellent. (I've only heard one other, however.) This is the recording where Pears clicked for me. (For some reason, I equate "getting" Pears with "getting" Irène Aëbi — they're both acquired tastes? But maybe that would cause Pears fans to fume. I like both singers very much.) It also didn't hurt Britten's profile when his work was used in "Moonrise Kingdom" (to good effect, I'd say). I still feel I'm a Britten novice. I have about a dozen discs, and there's always something new to explore in each one.

The Sinatra Society of Japan has issued new DSD remasters of Monterose's The Message and In Action. They're in the mini-LP format, and are the best-sounding reissues of these classic albums I've heard. The catalog numbers are: XQAM 1622 - The Message XQAM 1616 - In Action I don't know exactly how or why the Sinatra Society (of Japan) is reissuing these, but I'm glad they did. The obi on In Action notes "JR Monterose Estate" — which means ... I don't know. Original source material? Legal permission? The Message especially sounds great. And the packaging beautifully replicates, down to the glossy cover, the original vinyl sleeve (though I've never actually seen a copy of the original LP). A note — there was an earlier (2005) Japanese mini-LP version of this album, put out by Jazzbank, that should be avoided at all costs. It sounded worse (to me) than the Fresh Sound issue. Just a heads-up for those that love these records and have (like myself, unfortunately) sound-upgrade-itis. Both are safe purchases, and very much (in my opinion) worth re-purchasing for the new transfer. And — yes! — In Action has the original black-and-white cover. Very nice.

A lesser-known set of Beethoven Violin Sonatas that's actually my overall favorite: I can't comment as much on the Bach sonatas from this set, because I keep spinning the Beethoven. Recommended! Another version I listen to, and am fond of for different reasons, is: I would, however, not recommend this set to those who don't care for fortepiano. It's an "historically informed performance," and the intonation of the 1684 violin is often variable. I still like it as something of an equivalent to what listeners of the day might have heard. I also have a soft spot for this XRCD (great sound, btw):

I wanted to bump this thread back up to support Opus Kura's excellent transfers of 78 rpm source material to the digital domain. This disc: sports the best-sounding 30's Kreisler I've ever heard (— way better than the old EMI transfer). Significantly, you can hear Rupp's piano with more dynamism. It's not just Kreisler's show; there's actual interplay here (which is something I didn't hear as much on the EMI transfer). I strongly recommend the violinst-centered "Plays Short Pieces" series (— these were some of the first discs Opus Kura put out). Discs by Mischa Elman, Nathan Milstein, Efrem Zimbalist, Joseph Szigeti, Bronislaw Huberman, Jacques Thibaud, and the above-mentioned Kreisler top the bill. If you have an affection for lovingly transferred "historical" recordings (crackly, yes, but also full of life!), please do try this series. (I have no affiliation. I'm just a fan.) The discs rank up there, and often (sonically) surpass, the work from other excellent labels such as Biddulph.

I'll keep listening to Dream Talk, and post some thoughts later (if I can share anything meaningful). My initial response — good sound, very interesting ideas, and introspective to a degree I don't hear in Evans. The Jazzhus packaging for this particular CD is very nice: it's a tri-fold mini-LP with an attached "pocket" in the middle for the disc. It works! A Dauner record I have been listening to quite a bit is Free Action. A totally different record than Dream Talk, and reissued in the wonderful Promising Music series, which has some of the best remastering I've heard. (Cecil Taylor's Fly X 5 takes the cake there.) Jean Luc Ponty sounds like a string version of Coltrane at this time (1967), and his playing (on violin) fits in better than I expected. Gerd Dudek is in fine form on tenor, and Eberhard Weber goes off on cello. It's a "free" album with a lot of structure, strangely enough. Though the improvisations are (or sound) unrestricted, the framework they're placed in gives each track a certain order. Hard to describe exactly, but I find it a brilliant listen. Parts of it remind me where Mingus could have gone (circa 1967) musically, when he began to focus on photography in favor of music performance. Still, it's a "European" record through and through, and is all the better for it in my opinion. A current favorite. Oh — Daniel. Do you have the reissue of Hammer's Maliny Maliny? It's very good! Hammer sounds almost exactly like Larry Young when he plays the organ (at this point in time).

Received these titles just last week. The stand-out disc so far is Manusardi's Free Jazz. This isn't Ornette's type of free jazz — the playing is in a modal vein — but the tenor player, one Dan Mîndrilă, does get in some surprisingly wild solos — think Gary Windo on Tes Esat, but three years earlier, and with too much of a reliance on trills. The Dauner is subdued but fine, and I need to listen to it more. The Piano Jazz disc is a rough needle drop — buyer beware. The music, however, is excellent. The compilation starts off with two Jan Hammer tracks (from 1967) that cook. His "Responsibility" is an attractive modal composition. I'm not familiar with the other pianists, but was surprised that the tracks weren't strictly derivative of American jazz (which the notes actually, and oddly, indicate). Recommended, but with an asterisk for sound.

Starting from the beginning of this thread — now ten years ago — it's amazing how many suggestions actually came to fruition. I'd like to hear more Sam Rivers on Mosaic. An Impulse box of some kind? Or a Complete Tuba Trio box set — the Circle Records stuff + any other tuba trio sessions. On a semi-related note, I wish Audio Wave would reissue Rivers' Blue Note work on XRCD — "Contours" in particular. Will likely never happen though. Would also love a Paul Bley trio box set of some kind. (Also likely never to happen.) And the home recordings of Jimmy Giuffre-Don Friedman-Gary Peacock! I've never even seen a boot of this trio. Maybe one doesn't exist. Now I'm just rambling.