Brad

Wes, put the Mosaics down for a second and listen to it. You won't regret it.

I'm still waiting for Volume 1 Maybe I can find it in Paris

Guitar on the Go and the Wes Montgomery Trio are excellent. I think the latter one came out in a K2 last year from Fantasy.

I had never heard of her until I listened to the show last night. What a dynamite show and performer. My hat's off to GOM for putting this on.

I'm not sure how much I paid for it but if you email him at hiroshi@earlyrecords.com he can tell you. Everything that is in the Verve box is probably in there so if you have that abomination you probably don't need these.

Damn, that's what I wanted to say

Some of those Gambits look intersting. I will be in France next weekend so might look for them. Need to dig out that old thread Brownie posted about.

Yeah, amen to that.

While I liked the US issue, if you can get the complete session put out in Japan: 4 discs recorded over 2 days and definitely worth it. Hiroshi can obtain this.

I think it's a little to recent to gauge the impact.

Iker Casillas of Spain, for one. ← Good shout. I like Casillas (not sure I'll concede better, but ). I'm surprised no-one's mentioned any of the Italians: Toldo, Buffon, Peruzzi, Abbiati, Antonionli - hell, even Cudicini, the Chelsea second keeper, is probably the second best in England!!! ← Yes, I'm sort of surprised one that he got so quickly passed over and secondly that he's still a backup.

Is that a new release or something a little older. I think a couple of things came out in the last week or two.

Iker Casillas of Spain, for one.

As was already noted in this thread yesterday (post #367 above)... ← But Hans, we can always use an update as to whether it's STILL sold out. ← Yep, you're right, how stupid of me... ← Not really that sorry I missed it. I'm glad it's gone so I wouldn't be tempted. By the way, it's still sold out and Generalissimo Francisco Franco is still dead

Gets high marks from me. Mosaic at its best.

168 cds. Not bad.

Here's a very favorable review by Ben Ratliff in today's NYT: Capitalizing on the unpretentious strengths of last year's "Magic Hour," Wynton Marsalis has made another small-group record that doesn't mess around. But "Live at the House of Tribes" goes quite a bit further. It's a close, slightly rough-sounding recording, with unerasable audience hollers and claps and talking. The concert was a fund-raiser at a small community theater in the East Village, one of Mr. Marsalis's favorite cultural centers in New York; there were about 50 people in the audience, which made that room crowded on Dec. 15, 2002. "Electric Blue Watermelon" by the North Mississippi All Stars The idea might sound contrived to you, since Mr. Marsalis is about as underground as Tiffany's. (He is also an international symbol of New Orleans, and is taking part in a number of fund-raisers to help the hurricane victims there, including one at Jazz at Lincoln Center's Rose Theater on Sept. 17.) But the goal isn't obscurantism, jazz in a bohemian bunker; it is directness, exactly the opposite. "Live at the House of Tribes" is the kind of record that some people - myself included - have been wishing from him for a while. Nobody's saying he's done with writing oratorios, holiday musicals and long cross-discipline works. But it is good to get more of this: a supremely confident small group, with a small audience, pouncing on standards and tossing them around. The contexts are well trod: a Thelonious Monk piece with a wicked rhythmic bounce ("Green Chimneys"), ballads ("You Don't Know What Love Is," "Just Friends"), bebop ("Donna Lee,"), sturdy 32-bar loading-trucks for midtempo improvisation ("What Is This Thing Called Love?") and New Orleans music (the Paul Barbarin parade tune "Second Line"). The record's action makes a U-shaped curve, starting high and abstract, dipping into serenity and logic, and ending in the New Orleans party atmosphere. And parts of the performance wrap up into neat packages, like Mr. Marsalis's almost geometrically precise "Just Friends" solo. But here and there, as in the 16-minute "Green Chimneys," there's some fantastic dishevelment. A lot of that tune's improvising - by Mr. Marsalis, the alto saxophonist Wessell Anderson (with a slightly sharp, Eric Dolphy-ish intensity) and the pianist Eric Lewis - is textural stuff, the language of trilled and warped notes, clusters and long tones, repetition and abstraction. Throughout the record, the playing almost never goes outside of tonality, and the rhythm section (Mr. Lewis, Kengo Nakamura on bass, Joe Farnsworth on drums, Orlando Q. Rodriguez on percussion) holds fast to swing. But swing brings out the best in these players; the music is fully alive and afire with ideas. It makes you want to have been there.

Wish it didn't have strings.

Only heard him on Night of the Cookers. He was the only good part of that monstrosity.

Is it still there?

Like montg I was underwhelmed by Portrait of Shorty and sold it but the price of a Proper might be too tempting to resist.

Mine was the T Bone, which I no longer have. First jazz was Hank and you can bet I still have it.

After seeing what has happened to people there, I realize that for all the complaining about this or that minor inconvenience that I am a tremendously lucky person. What we take for granted can be easily taken away in two seconds.

I don't know if this has been mentioned (I'm not going back to read all pages) but how about some of Xanadu's Be Bop Revisited. Great series of albums.

I wonder if Farrah Fawcett ever did a jazz cd