Brad

I just received this and not being acquainted as I'd like to be, I can't comment on the sound versus other reissues, except sound has to be better because obviously Columbia has the masters. However, the book (and it's pretty thick) is tremendous, with detailed analysis. To me, that's worth a lot. Obviously, this is not the end all or be all since it's only a snapshot of a portion of his Columbia work but it's a worthy pickup, nonetheless.

I second the Mule's suggestion. I enjoy those very much. There was also supposed to be a cd on Ocium, containing early Arnett, I think mostly in a r&b mood. However, I don't have it so I can't vouch for it.

I don't believe in those things. To defile your body that way is crazy. And then if you don't like it, what then. I hear it's painful to get them off. Maybe I'm showing my age, but I just don't get it .

I'm impressed. Scrabble is hard enough and to be representing your country in the championships, that's pretty damn amazing.

I'm with Soul Station on this one: I never heard most of the material on here so I'm really looking forward to it. My birthday is Sunday and this is what I asked for so I'll be spinning this come Sunday night. Can't wait.

Eke, I have one of the Luncefords. I could fax or mail you the liner notes, if you like. If so, my email address is lewinb@wyeth.com so you can get in contact with me.

Coincidentally, AMC happened to have Scent of a Woman on last night. I hadn't seen it in a while but man, what a great performance. It's hard for me to line up in my mind at the same time a vision of him as Michael Corleone and Colonel Slade.

$62 appears to relatively cheap to me. It's all a question of how much risk you can afford to tolerate versus what you can afford. Since you probably have a decent collection, not to mention your house and other possessions, I'd go for it. I'd do if it was me. I don't live in California but because earthquakes are so prevalent and insurance companies don't like to pay out since they're profit making institutions, it's probably very expensive. I'd be surprised if they didn't offer it. It's just that since the likelihood of payout is great, the premiums, accordingly, should be high.

One of my colleagues here loves this movie and is constantly repeating lines from it. One of his favorites is: "who put this thing together? Me!" I was under the impression that this movie almost wrecked Pacino's career.

Congratulations. My music teacher (and my son's, as well) has made a great contribution to our lives and I'm sure you'll do as well. Plus, now you have the opportunity to spend more money on Mosaics and other reissues

I didn't see the whole thing but found it a mixed bag. I enjoyed some of these people who are keeping their (and our) traditions going but thought the program seemed to meander at times. I didn't think the connection between Africa and the US was all that well connected although I'm sure most of us know the connection anyway. But I do like the individual director approach and I'm looking to tonight. The coming attractions have me interested. It doesn't have the Ken Burns "I'm preaching to the masses" message so that's good.

There was a brief discussion of these Sets when they were announced a while ago.

In keeping with the recent discussion, there's a great story in Robert Reisner's book The Legend of Charlie Parker, which he related Don Byas' telling about Bird, and I quote: "It seems that when he [Don Byas] first heard Charlie's music and expressed his opinion to Parker, he said, 'You ain't sayin' nothin' on your horn'. Bird gave him a hard look and told to come outside. Byas walked out with him. Bird pulled a knife. Byas calmly drew a blade of his own. Bird looked at him, smiled, and put his weapon away with the remark, 'I really think you'd cut me.'" So much for dealing with complaints about lacking your own tone!

Got a Good Thing Going sounds good to me. It's got my vote.

Bev, Besides those mentioned involving Wynton, you may want to check out a couple of cds that were issued by Fresh Sounds from the Left Bank: The Wynton Kelly Trio Live at the Left Bank (with Hank Mobley), Catalogue Number 1031, and same title but with George Coleman, Catalogue Number 1032.

I probably don't have a heck of a lot more to add than the others did. I really liked the Chambers stuff and really enjoyed the Miles rhythm section. Wynton is a favorite of mine so this was a must. But what really grabbed was the sound. It's remarkable. When Jimmy Cobb was going through his solos, it was like he was right next to me. Maybe these Vee Jays are a little heavy on the alternates but it's worth the dough.

Dan, I meant as a leader; AMG shows only 3 or 4 of those. But obviously, he's well indentified with their sound, especially when you say he's been on some 25 sessions.

I totally agree with couw and his sentiments mirror mine. I never studied music (not even as a kid) and I realize I am not getting as much out of the music as I could. That's why about nine months ago I started taking saxophone lessons, not so much as to be a great saxophone player or perform, etc. (you know what I mean) but to understand the music more. BTW, Jim's post is one of the best I've read on any board in a long time. After reading it, I said to myself "man, that's perceptive". While that may be obvious to most musicians, it may not be so to most fans. Enough pandering Also, the comment about Eric Alexander was interesting. He's sort of been identified with a lot of the people who record for Criss Cross although he only made a few albums there. Recently, I bought Mike DiRubbo's Human Spirit cd on Criss Cross and on the cd are the CC regulars: Jim Rotondi, David Hazeltine, Peter Washington and Joe Farnsworth. I lent it to my music teacher, who plays jazz, and his comment is somewhat similar to Jim's. He said that DiRubbo is technically impressive but that it sounded like that he was going through the motions, that he had no soul or feeling and that you have to have emotion to play this music.

I don't have the power but I'll second it, if it helps. B)

I'd echo the comments about the Hollywood All Star Sessions. There is some just super playing going on there. The sesssions with Stitt are good but my favorites were the ones with Bill Watrous and Milcho Leviev. Those guys were incredibly tight. I dare you to find a better Night and Day than on the session with Lechieve. Plus the remastering is really, really good. Incredibly sounding. Besides this box, I also like Art Pepper + 11, plus Art Pepper with the Sonny Clark Trio. The latter is not very good sound but the music is just sublime.

Another vote for Inta Something. Speaking of Jimmy Forrest, if you want to hear some early Grant, check out Forrest's All the Gin is Gone, on Delamark. You won't be disappointed. Grant's first recorded session.

There's a further article in today's Times about the series. The one I most want to see is the Eastwood one of Jay McShann, with Pinetop Perkins. There was a very nice but brief article in the New Yorker a few months ago about Clint making this segment.

I haven't checked but I'd have to think Dusty Groove will have these. At least, Amazon France will have them.

Maybe I'm in the minority here, I don't know, but I'm not a fan of that electric period of Miles and why do trumpeters feel obliged to have to copy this of all periods or if they have to copy why not someone else? Frankly (and I don't keep up with these anti and pro Wynton Marsalis debates on a steady basis), doesn't Marsalis come in for a criticism for doing something similar. Shouldn't these guys be finding their own voices. Derivativeness or imitation while it may be the sincerest form of flattery isn't the best way to become unique.

Not possible, Jim must have patented, trademarked and copyrighted it by now