Brad

Brad, I purchased the German set from another eBay seller a few months ago. I am VERY pleased with the sound. although I do agree with the complaint about the booklet. However, for this price, and unless you have the ears of an Alsatian (and I don't mean from Alsace-Lorraine) then this is a bargain in comparison to the U.S. set. I have seen the U.S. set go for anywhere between $150-190 on eBay. Now.. can someone point me in the direction of Couw's invaluable improvement on the German booklet, please? Garth, Here's the link to couw's work.

Yes, but affordable. And the music's magnificent! Yes, but coupled with all that and Claude's view that the sound is ok, there would seem to be a reason why the US edition is somewhat more ($225). However, I also agree with his view that it's probably overpriced. Based on what I hear here, I'll pass on the ZYX set. BTW, when this discussion started, this seller had for set. Now, there are 2. We've got market power Well unfortunately for me the saying 'Beggars cant be choosers' rings true. Hey, I'm no beggar, impoverished, maybe, beggar no. Course I never refuse a handout

Nice. Very nice. When this came out, I was not sure I really needed that one. Now that I have got it, I rate it as one of the best of the recent jazz boxes. Essential for Dexter fans. Lots of additional tracks, most of them superb. The rest merely very good! Ditto. A nice box. With really nice liner notes.

This wasn't my experience with this set. I really found it very good, at least on my system. No complaints here from the sound.

Yes, but affordable. And the music's magnificent! Yes, but coupled with all that and Claude's view that the sound is ok, there would seem to be a reason why the US edition is somewhat more ($225). However, I also agree with his view that it's probably overpriced. Based on what I hear here, I'll pass on the ZYX set. BTW, when this discussion started, this seller had for set. Now, there are 2. We've got market power

Muddy Bones Parker is here, yessir

Thanks Claude.

Claude, Thanks for the info. By "dated" sound, do you mean 16 bit and you can elaborate what you mean by "cheap packaging?" Thanks.

What's the dealio on this. The US version is $180 or so. What's the sound like on the European version. Is there different packaging. Why is this so cheap? $75 is pretty inviting.

There's this ebay auction for $62 (without shipping). I don't know if that's the price you're looking for.

For those who may be too lazy to go the Mosaic site... THE HOT RECORD SOCIETY. THEIR MISSION WASN'T SAVING A KIND OF JAZZ IT WAS SAVING JAZZ We've written before about our natural affinity for music preservationists - people whose lead we try to follow in keeping the music's evolution clear, and the music itself available. Sixty-five years ago, the same principles that drive us at Mosaic led a group of dedicated writers, musicians and music collectors to form the Hot Record Society. Pure Jazz. Back then, they saw the threat to jazz as the more popular forms of dance music that were often lumped together with jazz in people's minds. To their ears, jazz was something purer and less polished. And they were determined to keep it alive. To that end, the group (including John Hammond, Charles Edward Smith, George Frazier, Marshall Stearns and Steve Smith) opened a record shop, published one of the first jazz magazines ("The Rag"), and, most notably, re-issued records that kept rare sides by King Oliver, Louis Armstrong, Bix Beiderbecke and Earl Hines available. After watching Commodore Record Store owner Milt Gabler launch his independent jazz label, Steve Smith caught the bug and created HRS Originals in 1938. He started, fittingly, with Pee Wee Russell leading Max Kaminsky, Dicky Wells, Zutty Singleton, and James P. Johnson. It was the first of over 100 titles that focuses on traditional jazz and small-group swing. Classic Bechet, and More. The next session, the Sidney Bechet-Muggsy Spanier Big Four in 1940, is generally acknowledged as the crown jewel in Bechet's considerable recorded legacy. Later that year, HRS recorded the Jack Teagarden Big Eight sessions with Ben Webster; and the Rex Stewart Big Seven with Lawrence Brown, Barney Bigard and Dave Tough. After a five-year hiatus, recording resumed in 1945 with a couple of uncharacteristic, but stunning, big band sessions. They also made some great quartet recordings with the Buck Clayton Big Four that featured Tiny Grimes and no drummer, and a group called Jimmy Jones's Big Four with Budd Johnson and Denzil Best. But the label's main fare was wonderfully-arranged, tightly-executed, small-group septets and octets that swung like mad. The cast of recurring leaders and soloists included trumpeters Clayton, Stewart, Joe Thomas and Sidney DeParis; trombonists Sandy Williams, Trummy Young, J.C. Higganbotham, Dicky Wells and Lawrence Brown; reedmen Johnny Hodges, Otto Hardwick, Russell Procope, Tab Smith, John Hardee and Harry Carney; pianists Jones, Billy Kyle, and Billy Taylor; bassists Billy Taylor and John Simmons; and drummers Best, Cozy Cole, Shelley Manne, Dave Tough, and Buddy Rich. Still Hot. And Now, Complete. You could look forever for the original 78s. Re-issues on LP and CD often have been poor in sound quality, and incomplete. But Mosaic gives due to these early preservationists by putting together all 124 performances on 6 CDs. And we've even included 11 unissued alternate takes. There's also a transcription date with arranger/bandleader Brick Fleagle (HRS's mid-forties musical director) whose rehearsal band of the day drew much acclaim from the press. The transfers were superbly done by Jack Towers, John R.T. Davies, Malcolm Addey and Ted Kendall, who used the best sources available. Extremely rare photographs from the actual sessions by Charles Peterson, Dunc Butler and Irvin Glaser and an in-depth essay by Dan Morgenstern make this an invaluable addition to the Mosaic catalog. And to your collection. Twenty-two points, plus triple-word-score, plus fifty points for using all my letters. Game's over. I'm outta here.

More Dex is always a great event. I must have skipped that in those liners. I have only about half of his Prestige work so bring it on :rsmile:

John, thanks. I do remember now the discussion. I'll go back and look at it.

Here's another dumb question, unrelated, but how the heck do you animate covers and what software would I need?

Jim, Thanks for answering all those questions. It's hard to fathom why certain things are done certain ways but that web site you posted of blue note and other label releases is a treasure trove of information. I'm going to have print that out and save it.

Thomas, I had no intention to insult (esp. since I only asked for the cd very late and I appreciate your getting it to me) and if I did, my apologies. I'm sure that when I get my turn there will be a lot of things that you or others may not find appealing. Aside from Donna Lee, I'd have to say I dug The Water Bearer, Fly By Night and I'm Confessin' That I Love You. Our tastes are a little different (I'm more grounded in the late 40s, 50's and 60s) but it's a big tent. Thank you again.

I only got around to listening to this just in the last two days and while I found the Donna Lee version to be different as a whole I'd have say that most of the songs (although I always appreciate the effort in putting this together; it's easy to criticize when you're not doing it) weren't that interesting to me.

I don't see the big deal frankly or having ads on uniforms. I happen to be a football (soccer to America ) fan and this has been happening for years. It earns the team money and if it helps to sign a free agent, why the hell not. It's strange to see at first but after awhile you get used to it. What's the difference between this and calling it Petco Park or Bank One Ballpark. At least they don't sell the naming rights in Europe.

Maybe this is in the category of dumb questions but did King originally have the right in Japan to issue the BNs and was that then this passed on to Toshiba. Second question, are some of the covers that have been posted here from that great web site different from how they were issued in the US. And if they were the same, why are the covers different from Japan to the US. For instance, Jim R indicated that Live at the Renaissance Club was issued as Three Blind Mice. Why different covers. Some of these covers are better than the US issue. And great covers do help sell records.

This set is comparable to the Commodores, just because it's the entire output for this label. I think this is one of the best Mosaics. There's not a bad side in this colletion.

Allen, did you ever get this. How does it sound.

This is one kick ass, take no prisoners session, if I can borrow a line that I'm sure Jim S must have used. The organ player is on fire here and this is one of the better Sonny sessions from that time period. It's hard to believe that it's oop. Anyone needing it should check with Hiroshi. This one cries out to be reissued in this country.

I've purchased from them before and their shipping is a little expensive and their service is not the quickest but it's ok. Their site, even if you don't speak french, is not that hard to use because it's just like Amazon US. However, I do know a little french (I took it in high school) and that helps.

This may be a little late but there's a Blue Note history film going on True Channel right now. I have dish network but I don't know what cable systems carry this one.

I'm sure that most of these have been reissued in some form or another (e.g. Street Singer in Jackie's Bag) but what about Blakey's Live at the Renaissance Club? Has that come out as something else?