Late

Ngub gub uuoiob vbug ngub viobvgib mun num gb.

And with NKC:

Tonight everyone should purchase John Lewis & Albert Mangelsdorff: Animal Dance.

Were all (or most) of the white tenor saxophone mouthpieces that you see in old photos made by Brilhart? I always thought "Buescher," but maybe that's a saxophone make, and not a mouthpiece. I played a metal Brilhart once (for alto), and it was a strident little thing. Similar to a Dukoff, actually.

Or this one? (I think Garth has.)

Anyone here ever heard this one? An interesting line-up for sure.

Yeah, I love that site. (They don't have the Urtreger cover though!)

Here's a new article on Ed Curran. He's still living and apparently has returned to music.

Both series are oft-discussed here, with good reason. Being an original cover art nerd, I thought it would be interesting to see how many original covers from these series we could unearth. I'll start with this one (attached). Please post any other original covers from these series if you have them! Some of those French records, first on 10" and then on 12", are a mess to untangle discographically.

Missed this video the first time around. I'm glad the link is still active! Weird to see Alice McLeod (Coltrane) putting forth her version of Bud.

From this (great) Vogue record. Check out the listener: phone's off the hook, the pen's laid down, two pints have already been drained, the cigar's just begun, new drink in hand, the vinyl spins ...

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.