Brad

Is someone going to do a master thread like Mike has done for BTF? I'm willing to do it if no one steps forward

Actually, the rule is 7700 posts. Aw, shucks you're just under that. Bummer

Perhaps Chuck was right, maybe not. However, I think what elicited the reaction was how he it said it. But that's just Chuck. However, Mr. Mingus doesn't know Chuck (not that I profess to, just his style). I don't think we would have had 4 pages had Chuck made the above statement originally. Anyway, although it was a rough introduction, the more members the better and I hope you stick around.

This is an open forum. There's very few rules here, other than registering and you like jazz. It's not a private club and so if some guy wants to register for the purpose of trading his Mosaic. What's the big deal. He obviously knows Mosaic and what he would like to get so he's got bona fides. He probably saw as fellow jazz brothers. I wasn't offended but I don't think Chuck's reaction was very welcoming. I'd get pissed off also. Did Chuck wake up on the wrong side of the bed today? As usual, we've wasted some cyberspace over a lot to do about nothing.

Nice, just set it as my background, until the corporate gnomes get rid of it.

How about a suggestion for the Bush inauguration costume?

All the Bill Evans material that they've put out in the last couple of years is fantastic sounding as is the Monk material. I try to pick up all these K-2s.

I kind of like the idea almost more so than the BFT just because it doesn't get us into the arcane plus you're giving the potential listeneners what kind of music they're getting into. It's sort of a combinatio of the AOTW and BFTs.

I think this offends family values

For the holidays could you change your signon to "JazzBlitzen," JM? Hey, no stealing my avatar What about 3 Kings Day, January 6. That's a nice day.

I haven't done this in a long time but I'll volunteer. Just let me know when.

Thank you for the heads up. I'll be on my way over to Borders later to pick this up.

Yup, it doesn't sound like I'll be picking this one up. If you have Dinah Jams (which is just great) or Queen: The Music of Dinah Washington that Verve put out earlier this year, you're probably covered. In addition to the obvious EmArcy work, there's a cd called Mellow Mama issued by Delmark that's worth picking up.

For all the reasons set forth already about the box, I'll stick with the box. The booklet is very good; in fact it's almost organized like a Mosaic. Nothing against the RVGs but I bought one of the RVGs and sold it. Much rather have the box.

Oddly enough I was wondering about jazz blogs myself last night after watching the Wonkette on tv. I'll check out some of the links here.

Neither have you . Only kidding. I voted for Zorn and glad to see I was in the majority. Guy does not do a damn thing for me.

Mosaic has now listed this on their site for mid November. I have her mid 50s EmArcy work which is prime but had been lead to believe or read on this Board that late 50s and thereafter is not so hot. The Roulette material dates from 1962 on so what's the view here? DINAH WASHINGTON. THE LAST CHAPTER OF A GREAT PERFORMER”S STORY INCLUDES A NEWLY-DISCOVERED SURPRISE. If your goal is to broaden your collection of the truly distinctive voices in music, you have got to own Dinah Washington. And if you want to understand what the composers meant -- REALLY meant – when they wrote songs you think you know, you have got to own this collection – The Complete Roulette Dinah Washington Sessions. This music, from the final stage of Dinah Washington’s short and turbulent life, is a perfect snapshot of all she was in performance – the brash belter, claiming and proclaiming her measure of fun and gaiety; the spurned lover, earnestly searching for one more chance, or determinedly wiping the slate clean of all romance; the wry commentator, knowingly chronicling the world’s troubles as only she could observe them; and the optimistic dreamer, surrendering to the beauties of life. Eight tracks appear for the first time ever, including one astonishing medley of songs, informally presented with just piano and flute accompaniment, that lasts more than 20 minutes – probably the closest thing on record to what it was like to hear her perform after hours. The World Takes Notice Born August 29, 1924 in Tuscaloosa, Alabama as Ruth Jones, Dinah was raised in Chicago, which may account for her lifelong love of the blues. While still a kid, she was already winning talent contests and working the clubs, both as singer and pianist, when a friend took her to the Downbeat Room to hear Billie Holiday. But this isn’t the story of a young singer falling under another singer’s spell. This story is about a young singer meeting the club owner and getting him to audition her for his joint next door. Dinah got the gig. A few months later, Lionel Hampton hired her for his band. But Dinah wanted more than the two or three features a night she got on the big band circuit. She wanted stardom. After less than three years with Hampton, she left the band. Within weeks, she was in the studio, on her way to earning her billing as the “Queen of the Blues.” A Special Style The truth is, regardless of the musical context, Dinah made every song she sang her own. She had her own no-nonsense phrasing that tamed every melody and put the lyrics under her spell. Her habit of enunciating every syllable and consonant made you sit up and take notice of the message, sometimes for the first time. And her choice of material was always eye-opening. Standards, R&B struts, pop numbers, show tunes, saloon songs, country music, the blues – as long as there was a story, she could sell it. For many years she was associated with Mercury and EmArcy, achieving success first as an R&B performer, then in jazz, an ultimately as a pop performer, scoring her biggest hit in 1959 with “What a Difference a Day Makes.” But in 1962, Morris Levy who has owner of Birdland had befriended Dinah wooed her to his record label Roulette. From the start, her records were hits. Fred Norman and Don Costa handled most of the arrangements and they ranged from swinging big bands to expanisive string sections. Numbers range from the sly, knowing “Drinking Again” to the painful lament, “Lord, You Made Us Human.” She crashes all known boundaries on familiar tunes such as “Something’s Gotta Give,” “That Old Feeling,” “Do Nothing ‘Til You Hear From Me,” and “These Foolish Things.” And creates her own statement with “Make Someone Happy,” and “Call Me Irresponsible.” Coming when these recordings did, after a lifetime on the road, there is particular poignancy to such songs as “A Stanger on Earth” and “Nobody Knows The Way I Feel This Morning.” And you could say she was finally uniquely qualified to sing a love-gone-wrong song, after seven marriages and many romances in between. An Important Discovery It’s likely that many people who buy this package will turn immediately to the medley that finishes the disc one. It has never appeared anywhere. On this after-session gem, she moves casually through eight songs – “Ill Wind,” “For All We Know,” “I Could Have Told You So,” and others. Contemporaries report Dinah hated to end the evening. Frequently after a gig, she’d hit the town with her piano player, looking for a club where she could sit down and relax, and where she knew she’d inevitably be asked to offer a song or two. This medley is no doubt the type of treat those club goers enjoyed. Stripped of all opulence, her performance shines for its technical mastery, her trademark phrasing, and her delight in singing to an audience hanging on every word. Her recordings on Roulette display all of the power and intelligence of her earliest successes with an undisputable maturity that is the sign of a remarkable singer joining the ranks of the greats. “The Complete Roulette Dinah Washington Sessions” appears on five CDs. An exclusive essay on her life and music, including a track-by-track analysis of the material, is by Dinah’s biographer, Nadine Cohodas. The Mosaic booklet also contains a discography of the material and all known details of the recording sessions, and there are many rare photographs from the actual sessions by Chuck Stewart.

That should be a hell of a set!

I want to order this but something tells me 11 cds are a lot. I'll probably get it but something is holding me back and it's not necessaryily the dough.

Excellent news. Well, more money out the window

I bought a Rotel a couple of years ago and love it but it's not that cheap. I'd have to check but probably around $500 or so. Don't know if you want to spend that much.

Thank God!

My son and I collect King and Country lead toy soldiers. They're pretty neat with incredible detail but rather expensive. When it comes to collecting in general, as I'm getting older and surrounded by a lot of stuff, I realize the time has come to get rid of things. I mean, how much can you keep. Especially, the next time I move, I will have to offload a lot of things.

Hiroshi is the best. I can testify to that. And if it comes to an RVG vs. a JRVG, I'll take the latter, thank you. However, if you throw a VICJ into the mix, it's no contest, VICJs all the way.

Good deal on the Hackett, though not a Mosaic I'd be interested in picking up.