Brad

Speaking of Jack McDuff, any views/review of Prelude from the Jack McDuff Big Band? This came out on September 9. BTW, if you're looking for a nice recording, organ/sax, check out Groove Holmes and Gene Ammons, Groovin with Jug, from the Pacific Jazz catalogue, reissued a few years ago.

Besides Green, I'd rate (imho) Kenny Burrell, Jimmy Raney and Tiny Grimes highly. Tiny has a very distinct sound. There's one recording that Jimmy Raney did on Xanadu with Sonny Clark, Together, that I'd rate highly. That is a dynamite recording.

This was posted by Bertrand in a thread in the Reissues forum about the reissue of Breakthrough (Cedar Walton and Hank Mobley): "Ian McDonald in the U.K. is indeed working on a Hank bio. He already published one on Tadd Dameron. There are several books on Lee Morgan in the works. The one that will most likely come out first is being written by a French journalist. Based on the work he has done so far, I think it will be excellent. Both Lee and Hank were the subject of Master's Theses at Rutgers. Jeff McMillan's thesis on Lee came out a few years ago. Sam Miller probably just finished his Hank thesis this year. I think he is about to give a lecture at the Institute of Jazz Studies (or it may already have happened?)."

Once again, I'm late to the party. Happy Birthday to one of the great guys here. If I can relate a story: one time back on the BNBB, woodymaggie (where is Pete anyway?) posted about how he was looking for a Dameronia burn and so I chimed in that I'd like to get one too if anybody was offering. Next thing Dan posts "guys, check your mail boxes." Plus, I can't tell you how many Sounds burns he's given me and he wouldn't take any burns in return for them. Simply a great guy. Well, next year we can make with the wisecracks when he turns 39. Happy birthday once again

Hmm. Hasn't the demise of Baby Face discussed elsewhere repeatedly. I seemed to recall that he had in fact died. I don't know that to be a given fact. I just did a google search and couldn't find that much. I just seem to recall it.

Well, I've played this a couple of times lately and I have to agree with the observations or criticisisms if they can be called such. His sound is very twangy, sometimes very close to blues guitar or a folksy style. I wouldn't rate him as my favorite (I'd have to go with GG there). However, I do like Getz here, as well as Eldridge. Those two make this date for me.

Soul Stream, does that mean that the different design gives a slightly different sound or to your ears do they have the same sound?

Speaking of pointing, may Bennie is glad that this recording is "back on the scene" B)

Vibes, Ah, to be 27 again. That's neat that your wife got you those for your birthday. Happy Birthday again! Brad

I recently picked up this for a light price (thank goodness) and I don't know if it's me but the sound on this makes it almost unlistenable. The notes indicate that it was recorded in Germany. Now I don't know if the master is bad and Rudy did what he could but it's hard to listen to. I can't say the music is that great either. I found her treatment of What's New, for example, strange. I'm no pianist but it seemed like she was trying to limit the harmonic effect.

I was wondering about that myself. It seems to have been down for 2 or 3 days. That seems like more than normal maintenance.

I have to confess that I bought this when it first came out and haven't listened to it. Guess what I'm going to do right now

I have a vague idea about what a remix is but from what I've read here it doesn't sound very good and it doesn't sound likke something I'd want to buy. It sounds desecrating to me.

I guess it pays to read properly . However, even if we got it right in the US, maybe it got misspelled in a Brasilian pressing and it was just kept that way, as Shrdlu and Vibes suggest. Let's not forget that Brasil had undergone a revolution in '64 (through which I lived) and was undergoing many changes then. There was not a lot of money for consumer goods, espcially since the military was trying to move industrialization on an accelerated pace. So, if they made a mistake, it would have been too costly to fix it. And once made, it was kept that way. Just speculation of course.

Having lived in Brasil and Spanish South America, my take on this is that if it came out in the States as Mas Que Nada because of our tendency to try to make things simple. It's actually easy to pronounce if you have the language experience but maybe the p.r. people thought just changing it to Mas would be easier to say and you'd get the same thought across, even though you'd be mixing up languages. For example, the correct spelling of the country is Brasil, but we anglicize it for some reason so it comes out as Brazil.

I like the idea. I don't have a lot of vinyl but there are a lot of people who do and I'd like to see their ideas.

This has to be another example of ebay zaniness: $59 for a JRVG of Ike Quebec's It Might as Well Be Spring.

I have 43 but that doesn't take into account the ones that I would have purchased if I didn't have the TOCJ or JRVG.

Congratulations (hope she likes jazz )

I just looked at the discography for the Mulligan set and it includes the Live at the Village Vanguard that came out last year in the Verve LPR series. Since Verve obviously knew (how could they not, unless one department is not talking to one another) that the Mosaic would be coming out, how can the Verve LPR make any sense (unless it was some sort of marketing ploy to whet people's appetite for the at the time yet to be announced Mosaic). There must be some method to this madness.

Soultrane Settin the Pace One that's not a Coltrane led session on Prestige but which I like a lot is Elmo Hope's Informal Jazz. Also a blowing session.

The following was posted in Mike Fitzgerald's Hard Bop Group (and you thought your collection was too big ): Collector owns stacks and stacks of tracks BY DAVID HACKETT VENICE -- Ever wonder what happened to vinyl records? A lot of them, it turns out, ended up in Joe Nigro's blue, wood-framed house east of Venice. Nigro has amassed a mountain of music -- more than a quarter of a million records. These days, his home on Havana Road is stacked with so many records that, he says, "Me, you, my wife and a couple of other people could listen every second for the rest of our lives and still never hear it all." Nigro, who turns 62 next month, has been collecting 33s, 45s and 78s since he was a teenager in Brooklyn. Some of the records are valued at more than $3,000, others at just a few bucks. He has no idea how much the collection is worth, but he estimates that he has spent thousands of dollars and many thousands of hours acquiring it. Exactly how many records Nigro possesses is also a mystery, one that his erratic filing system is not quite up to solving. About 15 years ago, he and his wife, Frubes, measured the stacks, calculating 50 records for every 7 inches. "We were in excess of 250,000 records then," he said. "How many do I have now? God only knows." Vinyl records, of course, have gone the way of the typewriter and rotary telephone. But for a collector such as Nigro, the market is still bountiful. His 1990 Dodge Ram van has signs on the windows beckoning, "I buy old records" and listing his telephone number. He also scouts garage sales, flea markets and estate sales several times a week. Nigro's favorite music is doo wop and country, but he has all styles, including jazz and classical. He has more than a thousand records by Elvis Presley and the Beatles. Even though he disdains Frank Sinatra, he has 400 Sinatra records, including duplicates. "I'm a collector, and a true collector doesn't just collect things he likes," Nigro explains. He also has hundreds of records by musicians who have long faded from memory, if indeed they were ever known. Ever heard Felix Slatkin's version of "Theme from the Sundowners"? How about "Hula Love" by Buddy Knox? Or "Tiamo" by Howard Carpendale? Among his most valuable records are three of Elvis Presley's first 45s, released on the Sun label. They are in frames on his wall and he says they're worth $2,000 each. For Nigro, collecting records is foremost a hobby, but it has also become a business. He works as a disc jockey for parties and other events. His niche is quantity -- he has song boards that he sets up near the dance floor with up to 15,000 songs from which guests can select. "It takes Frubes" -- his wife; her real name is Frances -- "and me an hour just to load the music we bring to these parties," he said. "Our playlist is unbelievable." Nigro also finds and sells rare records, using the persistence and skills he learned during his main job the past 19 years as a licensed private investigator. "People come to me wanting that song they used to play when they were kissing their girl 40 years ago," he said. "Sometimes, they can't even remember the artist. But I'll always look and I don't give up until I find it." Growing up, Nigro dreamed of being the next Elvis Presley. But he soon discovered he was just another "frustrated guy who can play three chords on the guitar." Still, music ran through his veins. His hero was the rock promoter and disc jockey Alan Freed. Nigro never missed a show Freed put on in New York City. Once, he and his buddies drove to Philadelphia and talked their way onto Dick Clark's American Bandstand. In the late 1960s, Nigro said, he was a rising star selling vacuum cleaners for Sears on Long Island. "I was the No. 1 salesman in the nation in the suck and blow department," he said. "I made nearly $25,000 in 1969, which was a lot of money back then." But he and Frubes didn't see much future in department store sales, so they moved to Florida, buying the place on Havana Road and becoming goat farmers. "We had 48 head and sold goat milk, cheese, everything," he said. "You ever had lasagna made with goat mozzarella? It's unbelievably light." Through it all, Nigro never lost his passion for music, particularly nostalgia for the doo wop era of the 1950s. In his living room, he has a 1953 Rockola jukebox he converted into a liquor cabinet. It plays rock and roll. "I call it the Nigro Liquola," he said. "It's my own invention." The Nigros have been busy lately preparing to move out of the house on Havana Road, where they have lived since 1972. The stacks of records won't be coming with them to their new house in the Southwood subdivision in South Venice. "I've got to build a second house just to keep all my stuff out of the rain," he said.

Hans, What didn't you like about the JATP material? (I understand strings, that's not too everybody's taste and I don't like large doses myself)

Thanks for the recs. I wasn't sure about these until I saw this thread. What about the Buddy Rich one. Any thoughts on that one. I'll pick up the JJ and Al Grey for sure (I don't have any Al recordings). This groups looks like a bone delight.

I've indicated before that I think his notes are fine. I still stand by that. I'm happy with the original liner notes. Typos are bad and shouldn't be there but that's not his fault. Otherwise, this seems "much ado about nothing."