Brad

Night of the Cookers Volume 1 Dizzy Gillespie - Live at the Village Vanguard - Volumes 1 and2 Cannonball Adderley - Sophisticated Swing Bobby Hutcherson - San Francisco

How would y'all rate the Mosaic they did with the material on the one coming out. A lot of those vocals turned me off. Regarding the Phillips set, I have the Phillips cd Verve put out last year "The Swing'inest Band Ever" and if that was any indication, it would be a great set.

I think it all depends if you can afford to get a new one. If you can, sell it. Over 100,000 more things are going to go wrong. This could be just the beginning. For a car that's already that old, putting in $2000 seems like a lot to me. BTW, what happened to you also happened to me a few years ago and I got rid of it.

I finally received this cd, as part of my shipment of Spanish Blue Notes and I have to agree with those who criticized this session. I listened to Volume 1 and while the first cut is generally listenable, it seems like the trumpets are trying to out duel each other and because it's so long, the solos seem to meander. However, on Walkin' there seems to be little connection between the trumpet solos and James Spaulding's solo, which I found almost unlistenable and quite jarring. A 19 minute version of this song is just way too long. And this is one record where the quotes just don't add a lot. I read somewhere where a quote just shows that the musician at that point has temporarily run out of ideas. While I don't normally agree with that, here it seems to fit the bill. The one exception here is the work of the conga player, Big Black. He lays down a nice beat and background in the first cut and that saves the piece.

As a further elaboration and not to diminish Dizzy's role here, in Ira Gitler's Masters of Bebop, by 1939 Dizzy was moving away from the Eldridge school and between 1939 and 1943 was, according to Milt Hinton, trying for harmonic evolution and setting the basis for modern jazz, a/k/a bebop. On the Jerry Newman recordings on Esoteric, on Stardust, Dizzy was making the "harmonic evolution" and although the Eldridge presence was still there, he was injecting nuances that were soon to be widely imitated. According to Gitler, during this period Kenny Clarke felt that Dizzy was the most advanced harmonically of the Minton regulars (which included Monk) and pointed out Dizzy was the first to play How High the Moon in other than its regular form (which latter became the anthem of 52nd Street). When Dizzy and Bird finally did meet (the date is open to speculation but now believed by some to be in 1940), Dizzy said that he was astounded by what Bird could do, the way he assembled notes together. Dizzy had been an Eldridge fan until then but was moving on. He said that he and Bird were moving in practically the same direction. Gitler goes on to quote Leonard Feather to say that Dizzy's half chorus on Jersey Bounce when he was with the Les Hite band in 1942 was probably the first example of pure bebop on record. When Bird said that Dizzy was the other half of his heartbeat, he was probably referring to, among other things, their co-inventorship of modern jazz (without any slight to Klook, Monk and others who pushed it along).

You just ain't whistling dixie when you use this dude :rsmile:

I haven't listened to or heard much of his work in years but he always had a distinctive sound and I loved Light My Fire. It was very heart felt, completely different, obviously, from the Doors. Another favorite and you can't miss at Christmas is Feliz Navidad.

I think it's a mistake to try to say one or the other was more important. What was happening was that both Diz and Bird were working on the same things independent of one another for a while. It wasn't until Dizzy came through Kansas City with the band he was playing with that they realized they'd been moving along parallel paths. You can hear the styles somewhat converge on the Stash recording The Birth of Bebop, especially in Red Cross, although for your purists the sound's not that great. Bird seems to get a little more credit than Bird but it wasn't for nothing that Bird called Dizzy "the other half of my heart." One of the reasons may be that Dizzy was exploring other things such as afrocuban rhythms and trying to maintain a big band. But in my mind, he deserves just as much credit as Bird.

I just received an email from Mosaic, which, among other news, contained the following information: Dear Jazz Lovers, Bunny Berigan Update Some last minute refinements in remastering and pitch corrections has delayed the Bunny Berigan set. This historic set by this jazz giant is now expected to ship on or about June 16th. You may preorder by calling us or visiting our website and please note that your credit card will not be charged until the set is shipped. 2003 Schedule A couple of revisions and additions to our last update of projects we are working on. In July we will be issuing the vinyl version of Miles at the Blackhawk on 6 LPs. We then have two more Mosaic Records sets planned for the year that have been on our wish list for a very long time. In September we will issue The Complete Verve Gerry Mulligan Concert Band on 4 CDs and in November we will release The Complete Verve Roy Eldridge Studio Sessions on 7 CDs. Our popular Mosaic Select series will continue with 2 releases in September; Paul Chambers and John Patton and at the end of the year we are working towards 2 more Selects, Curtis Amy and Duke Pearson. A full slate of releases that requires a lot of gratifying work which we wouldn't be able to do without the great music these artists have given us and the support that you give to this music.

Grey, welcome. Now I can curse myself for always arriving too late for the sales of yours I always seem to miss!

Well, I got my shipment and that's pretty darn fast considering I ordered it on Sunday. Of course, shipping was 17 Euros so that obviously explains the speed. The TOCJ reference is a bit curious because some of them have them and some have the US catalogue number. For example the Leo Parker does have the TOCJ number. Has that not been reissued in the US previously? Maybe they just copied these and got a license to do from BN US and BN Japan.

Jim, I hope I didn't give the wrong impression. Your post never "intimidate." You overwhelm (in a good way) with your ability to express your feelings, perhaps this comes from your being a musician where expression is your bread and butter. Us corporate types are taught or learn to not be that expressive. This is obviously a must album, a meeting of the gods as probably would not happen again.

Haven't listened to it for awhile so good opportunity. Thanks Jim.

Wow, there's some great stuff to look forward to. I had forgotten (nor bothered to read the latest brochure) about the Chambers. However, having that material already I'll pass that one up. I'm looking forward to the Patton and I don't believe there's enough Baby Face to warrant a Select although I enjoy his work. Plus, Mosaic won't do 2 organists so closely. I like the idea of a Mulligan songbook, Nights at the Keystone and am always hoping for a Three Sounds.

But seriously, Chuck raised a good point. I've been a little concerned lately about few discussions regarding pre 1950 jazz, especially swing. Also I know somebody mentioned they only had 1 Bird cd. I find that hard to believe. If you don't have a healthy dose of Duke, Louis' Hot 5s and 7s and Bird's Savoy and Dial work, you're missing the holy jazz trinity. Thank you organissimo.

Which half? Hey how about a Jason Kidd smilie? We ate your guys lunch.

The Mule's avatar is cool. Mine are probably evident. I've had Bird and Miles from the Three Deuces and now Dex. Funny thing. At work my computer shows Bird while at home it's Go! Don't quite understand it.

Good Gracious is definitely a classic. Great look on Lou's face. One thing's for sure, you'd never see that cover today. Another thing that surprised me about this cd is how good the music is. It's constantly rewarding.

Sheesh! After reading Jim's post, how can anything any of us say be meaningful. It'll pale in comparison.

Sonny's the man.

We've barely gotten a chance to digest these new Selects but I was wondering what's up next on the calendar. I see that the Crusaders are on the to do list but what's next? Is the Patton next? Always trying to look forward here.

I'm with Vic on this one. The music is incredibly good one on this one. However, the sound, and the Japanese version is a little better than the one I used to have, is not, to put it mildly, very good. It's sort of like the Uptown Sonny Clark at Oakland cd. However, if you can get past that, you're in for a treat.

I ordered a few last night as well. That site reminds me of the old, old Planet Music site in certain ways. Anyway, I always wanted to hear what the controversy about Night of the Cookers was so I ordered that, plus the Gillespies, Basra, the San Francisco Hutcherson and a Bud Powell Cd from Freshsounds, Volume 2 of Birdland 1953 (I have Volume 1).

Ditto on the Bud Plays Bird. Plus, I was just over at the www.freshsounds.com site after having looked at the Spanish Blue Note thread and they have that cd there too if you do a search for Bud.

As usual, I probably reacted. No insult taken, plus as a result, I even took a peek at the politics forum. You know what they see about curiosity....