Late

And, thanks to a member, I'm listening to "Oh Lady Be Good" — very, very nice.

I'm a dork. Of course the Bechet RCA tracks have made it onto the Classics discs. 1941-1944 would be the one I'm looking for. I got stuck on the RCA Jazz Tribune series, thinking somehow that was my only route. They do sound the best (to my ears).

Forgot about that. I got myself in the habit of ignoring Definitive, Jazz Factory, Lonehill, et al. reissues that I didn't even consider that. Hmm, now I'll have to consider it. I wish eMusic would carry those "labels." (I think they did for a brief while.) Then a single track could be plucked.

This is a really good set. Not the best sound, but certainly acceptable. I think it may be the only way, currently, to hear some of Bechet's later recordings for Vogue. It's on eMusic! On a related note — I'm looking for just one track by Bechet (recorded for RCA/Victor): "Oh Lady Be Good." I can't seem to find it anywhere. If anyone can point me in the right direction, I'm all ears! Thanks.

Just listened to the Coleman Hawkins Jazz Tribune set — one of my faves. The remastering sounds pretty decent too. Anyone else still spin these? I'm still looking for Sidney Bechet Vol. 5 to complete my (Bechet) RCA series. Let me know if you see one used!

Look for the DVD titled David, Moffett & Ornette - Paris 1966. The company Rhapsody currently publishes and distributes it. Some nice footage of Izenzon there, and one's given some insight into the person as well. Warmly recommended.

I believe you. Agreed. I suppose I'm framing the question of perception — as it relates to responding to music — with too many variables.

I understand where you're coming from. I think the idea that inspired this thread was actually a question of perception — or, in other words, how much, knowingly or unknowingly, do we let our biases color our reception, and following interpretation, of something creative. An example: I'm not a fan of Allen Ginsberg's poetry. If a friend were to give me a few sheets of paper and say, "Here's an Allen Ginsberg poem I thought was interesting — check it out," my initial reaction would likely be disinterest. But what if the friend said this, and then gave me a poem by an author I really care about? How quickly would I be able to recognize the poem as something that works for me? Or, because it's allegedly Ginsberg, would I just read it sloppily, and maintain my bias? I'm not arguing that Wynton's solo on Cherokee is great. I don't think it is — or rather, I think it's great technically, but not emotionally. But what if a trumpet player that's generally in favor here were to play the same solo? Would it receive the same criticism?

That is the best spam poetry I've read, maybe ever.

Larry, did you notice that it's Wynton who introduces the Shavers video you posted? That's some deep irony there, and it eerily coheres with Jim's potluck metaphor. But I like that parallel: Shavers and Wynton (or Wynton and Shavers). I get that, especially the impishness. I've never really thought of that quality in Marsalis before, but it's definitely there, actually (now that I consider it) somewhere in the forefront. I think the most "modern" reference (or influence) that's in Marsalis's playing (at least, let's say, post-1985) is Clark Terry. I (at least) hear some of the eighth note phrasing in Wynton's lines that's reminiscent of Terry. Then it's all backwards: a dash of Rex Stewart, a dribble of Red Allen, three quasi-dollops of Armstrong (though Wynton's tone will never be as brassy). I actually wouldn't say that Shavers plays circles around Marsalis, but I would say that Shavers is authentic in the extreme, whereas Marsalis is likely the polar opposite. The guy just cannot play himself. Or maybe he is (or does), and that self is about an identity based on received cultural ... platitudes? Chuck — I made the Bowie reference because I read in a Downbeat once (circa 1997, I think) that Bowie said (something to the effect of): "Man, if I could have Wynton's chops with my ideas ... !" Of course Wynton doesn't play "like" Bowie, but if we heard Wynton's playing coming out of Lester's horn, would we all say the things that are getting posted above? I think the question of perception, and how prefigured perception informs our response — well, the jury's still out on that.

This is an experiment. It might not work because most of the listeners here already have formed their opinions on Marsalis and his playing. I don't exclude myself from that statement — I have my opinions too. But the Shreds video on YouTube got me thinking. What if, hypothetically, a Wynton solo were overlayed onto, say, a Lester Bowie video — assuming, hypothetically again, it would sync up finger-wise and breath-wise — what would the response be like? Would a flood of "Bowie was a genius" comments be unleashed? Or would "there doesn't seem to be a lot of emoting going on" comments predominate? If you can, watch this video to the end, with as an objective ear as possible: Cherokee What do you think? I'll offer right now that while I'm not necessarily impressed with Marsalis's virtuoso display (although I don't think any other contemporary trumpet player has matched his technical prowess), there were moments (some of the smears, some of the rhythmic displacements) when I chimed in. To me, the solo doesn't "swing" — which might be deeply ironic considering Marsalis's emphasis on "The Big 2 & 4" — but part of me thinks: No other trumpet player I know of could play that solo. Was I moved? Not really, but that might be because of my pre-existing condition of skepticism.

Yep, the Dookie thread: "I Am Dookie Coleman!" That was a winner. I wish he'd sign up and enliven the scene here. I actually half-believe his story. Aggie — I think maybe you're thinking of Joe Albany's daughter? I think she posted either here or on the BNBB. Joe Albany At Home is one I've been spinning lately. Good stuff.

He posted a touching (well, to me) story about how his dad would call him on his birthday, from wherever he was, and play Happy Birthday over the phone. Kenny Dorham's daughter posted once or twice, too.

Chauncey = Clem?

I remember that discussion too, but don't remember the poster. I can't remember what the consensus was: whether or not a tape actually exists. On the same note — does anyone remember when Stan Getz's son posted on the BNBB?

No mention in this thread yet of Giuffre's two 70's dates on Choice Records (later reissued on Candid with different titles). These trio recordings have skyrocketed into some of my all-time favorite Giuffre. They're on eMusic (with different covers), for those that swing that way.

All this time, a drag queen.

Stanley Crouch starts following you around.

I think you're probably pretty on target with that assessment, Hans. The AMCY of Giant Steps, for example, does seem too "precise" (if that makes any sense) at times on the high end. Maybe that's because of the boosted higher frequency. I don't know for sure (and am not techically savvy enough to find out). On my system, the original U.S. edition sounded somewhat lifeless, and the MFSL edition sounded bloated all out of proportion — very boomy. As we all know, of course, it's just a matter of systems and taste. There will never be a "best," only a "preferred." I do know that I love a lot of the music that was recorded for Atlantic records. I was exposed to that label (just by chance) long before I heard a record on Blue Note. Atlantic is one label, in general, that makes me wish for my (pretty much gone now) vinyl days. At any rate, I hope you like the AMCY of Olé, riverrat. The box'll probably be just the ticket. You'll scoop up some WPCRs along the way, I'm sure. If you have any affection for Giuffre, I'd recommend that title before it goes OOP in Japan (whenever that may be). And, it doesn't hurt asking Hiroshi if he happens to see any of the old AMCYs used or new ...

It'll be interesting to see what Cuscuna selects for the 2009 batch. The series has been going since 1994! Hard to believe. I can't really think of that many Blue Note titles that haven't seen CD issue at one time or another — U.S. or Japan, single disc or Mosaic — that might be in this new batch. I suppose we'll eventually see Tyrone Washington's session (the TOCJ works for me though) sans trainwreck. Personally, I'd be more interested in what could be excavated from Pacific Jazz, Colpix, United Artists, Solid State, and any other associated arcane labels. Otherwise, though I have the respective Mosaics, I'd welcome the aforementioned Rivers and McLean titles. Maybe someday Cuscuna will put out an Art Hodes Blue Note Mosaic Select. I'd be all over that.

I'll throw another opinion into the mix. For Coltrane, I think the first edition Japanese mini-LP series (AMCY) are quite fine. They're in 20-bit, if that matters, but are probably pretty hard to find these days. This series had Warne Marsh's eponymous Atlantic album whereas I don't think the WPCR series does. I will say that the WPCR of Jimmy Giuffre's 3 is amazing. Highly recommended. Way better than the original domestic CD issue, and better than the Mosaic IMO. I've never heard the Rhino Coltrane box so I can't make any comparisons there.

Wishful thinking? Will there be a batch? What might be included?

Do a blog search for Massimo Urbani. Great trio record on Horo. I hope I'm wrong, but I don't think this label will ever have (legitimate) CD issues. This leaves searching for the original LPs (spendy), or turning to blogs. Sometimes the latter is the only way to hear out-of-print music. A shame, perhaps, but true. I really want to hear the Sal Nistico on Horo.

My sentiment exactly. That's one of the best bonus tracks I've ever heard on a CD. That, and "The Collector" on Wayne Shorter's Adam's Apple.