Late

And, BTW, Empty Room is on iTunes (Plus! 256k-- woohoo) for $5.94. Sounds really good. Anyone have the (attached) album?

Walmart, of all places, has the OOP and hard-to-find Nistico album "Live" from the late 80's.

Strangely enough, I just found this disc at fye.com. Would love to hear Neo/Nistico. But as it's on Bee Hive, the only way is vinyl or vinyl rip.

Yreka Bakery (an actual store in Northern California)

Good point. Maybe Columbia could digitize their vault like Verve? And sell (hopefully lossless) files through iTunes or eMusic? That's probably setting hopes too high. Probably Mosaic is the most realistic route.

I think that's a pretty fitting description of Braxton's playing. I love Braxton the composer, and like Braxton the saxophonist. His playing does grow on you if you give it a chance, and without question the man's committed to his art. The quartet stuff on the Mosaic is top notch, and I think those who like Sam Rivers' playing will like this part of the Mosaic, but if you like your alto players to sound like Cannonball, you may very well not like this set. I haven't heard the orchestra stuff, so I can't comment on that. I think it's great that Mosaic would put this out at all. I imagine it'll be talked about for a while here after the set ships.

Not according to Feather's bio entry (see above). Maybe Late confused this when he mentiond the WEST Coast? Yes, Steve is right. I thought Williams (Getz sideman) performed mostly in California, but the bio above notes NYC. So, just for clarity's sake: • John Towner Williams = film soundtrack composer and pianist; largely on the West Coast • John Thomas Williams = jazz pianist; largely on the East Coast

The John Williams that played in Stan Getz's quartet is not the famous soundtrack composer. The full name of Getz's pianist is John Thomas Williams, and he made some brilliant recordings for EmArcy. If you can find "The John Williams Trio" on Japanese EmArcy, I strongly recommend it. Brownie mentioned (some time ago in another thread) that Williams was at one time considered the West Coast "rival" to Horace Silver. There are some parallels, but Williams isn't as "funky" as Horace, while still maintaining some interesting idiosyncrasies.

Take Five, Take Six, Take Seven, Take Eight ... but don't forget that the quartet also recorded Take 8½, a tribute to Fellini themes.

Japan released it on cd. Also it was on cd in the early nineties in the US http://www.amazon.com/Jazz-Goes-College-Br...t/dp/B0000026TC Wait — I thought that old U.S. edition was Jazz Goes to College and not Jazz Goes to Junior College. Am I missing something?

I guess newly remastered editions of the Columbia big band material are essentially out of the question these days.

And the original cover of Jazz Goes to College, which of course Columbia/Legacy decided to abandon ...

Cover ...

Is Jazz Goes to Junior College doomed to oblivion? I've always wanted to hear it, at least once.

Is the Columbia reissue program dead? Aside from budget re-reissues, and what Mosaic can license?

The more I listen to it, the more I think Underground (minus the vocal track, which I've never liked, and I like Jon Hendricks) is a condensation of all things Monk. While likely not the "best" Monk album, it may be the quintessential Monk album — if that makes sense. "Green Chimneys" is a masterful showcase in the subtleties of listening (as opposed to "improvising" or "inventing"). When Monk drops out behind Rouse on the Columbia recordings, Rouse often (though not always) steps it up a notch. Something to ponder.

Heard Plays Bernstein and Anything Goes for the first time yesterday. Both very fine if perhaps not top shelf Brubeck. The one that's really been striking me as unfairly overlooked is Dave Digs Disney. Not what you'd think at all. Humor, sophistication, swing ... a hip set all around.

This is a good album. I could live without the recitations, but they're not too intrusive. As I recall, Harrison's solos are the most interesting. An album in this vein (without recitations) that I think is much better is Henry Franklin's The Skipper. Some great tenor solos from Charles Owens (who I haven't heard outside of this LP) and equally fine trumpet solos from Oscar Brasheer.

My saxophone teacher (years ago) used to have Ephemera on vinyl. Did it ever make it to CD? He played it for me once, and I can barely remember it. I'll have to look for that Camdan/BMG 2-CD set. It looks like one to have. Have any of the others made it to compact disc?

It seems like the most-noticed Adams work hails from the 50's and 60's. Recommend some favorites from the later decades! (What year did Adams pass?)

This may have been posted earlier (didn't check), but just in case it didn't: Anthony Braxton sings a Lee Konitz solo to Lee Konitz as Chick Corea watches ... then shreds "Impressions"

THCD 087 Bent Axen(p)-Bent Jaedig(ts) Jazz Groups / Let's Keep The Message* 2520 This is a good album, but you can get the whole session, plus two other sessions on a Steeplechase CD simply titled Axen (for about half the price of the upcoming Japanese version). An LP of this recording just sold on eBay recently, I think for around $1300. The seller probably gets e-mails from Hiroshi!

All of these tracks have appeared on (Japanese and German) compact disc, but, you're right, it would be nice to have a complete session, with both overdubbed tracks and then the same tracks with no overdubbing. I personally find that the overdubbing enhances the latter tracks — an opinion I didn't initially think I'd have. The original tracks without overdubbing can certainly stand on their own, but Alice created a certain vibe with the overdubs that, to borrow from Dusty Groove, adds that "spiritual angle that we love so much." Also a rare opportunity to hear Coltrane on bass clarinet. (Truth be told, I don't find the bass clarinet playing all that interesting.)

Can't wait for the Rollins and Kirk titles. The Evans and Simone will probably be good too.