Brad

RDK, Thanks. That internet archive is pretty cool. The internet never ceases to amaze me. Can we even remember what it was like pre-internet days. Hard to imagine I'd have a decent jazz collection without it.

Due to a space problem and my fetish of still buying cds, if I buy something and it just really doesn't move and I think I'll never get interested in it, I'm going to get rid of it. However, I don't try to purposely cull my collection. Yes, there are somethings I may not listen to but I'll let them sit there. Some recordings may not grab me immediately but I'll put them aside. Others I just know in my heart that they're just not for me. For me, I'd keep the Harris. Never heard anything of his I didn't like. While Bullseye may not be my favorite, I don't think I'm going to get rid of it.

I didn't think you could even access the archives. I'm curious as to how that was done. Anybody clicking on would have seen it's frozen back in February of 2001 or whatever. The best April 1 gag was done a couple of years ago by Alan Lankin who said that Mosaic had announced that they were issuing the Complete BN 50s Sessions. Too bad it was a joke.

Well, if it's a death watch, they refuse to go quietly into the night. The Jacquet has hung around the running low list for at least a year.

Are these anomalies perhaps or just a way to distinguish between club and non-club pressings (i.e. the real thing). The only differences I was aware of was the silver and blue for cd for pre-90/91 and the better well known blue/white of post 91, which in my book is a useful cut off point for signaling better sound.

Did you ask about the Jacquet? That's got to be getting near the end.

P.D., thanks for the tip. I'll check 'em out.

Unity was one of my first jazz purchases ever. I was curious about him after seeing a listing of Mosaics and saying to myself "who is Larry Young?" My favorite of his still remains Inta Something. Honorable mention to Grant Green's Talking About, however. I thought Larry not to mention Grant and Elvin are fantastic on that session.

Well, I guess I'm one of the few to not fall prey to their blandishments. Haven't looked at the site for a while. I have bought stuff from them though. Maybe should just mosey over and take a looksee.....

The RTE was recently on ebay but I missed the auction (busy) and I want to kill myself for missing it. Aargh!. Haven't seen it listed on other online sites. If it is, they say it's out of stock.

This is a little bit late in this debate but when I was a kid people would call me Bread and I didn't like it then but if someone kids me now, I just shrug it off. Actually, they call me worse things. Anyway, from my end no insult intended. It turned out that I have the Apartment and I never got around to listening to it so I listened to it today. Excellent. Really looking forward to the box.

After hearing from Spinach and the Parrot man, I went ahead and placed the order. For those who are interested (and I hope this doesn't violate any anti-spam rules), you should call Peter Crawford at Stateside Distributors in Chicago and his number is 773-862-8573 or 888-776-0436. B)

Steeplechase has announced that this box is coming out in April. Any thoughts on this? I don't have any of his recordings made for Steeplechase and am wondering if this would be a good purchase. http://www.steeplechase.dk/steeplechase/ca...i?sccd=30010/17

I would agree with Tod in all respects except that it's not a "bug", it's a "sickness"

Yup, that's good. If you like Natural Soul, you might like Good Gracious. It's a Conn. edition and I've seen it around from time to time. Very good session, in my opinion.

I like Natural Soul and Boss Tenors in Orbit but Lou Donaldson over Sonny Stitt? I love Lou but dude there's no comparison, Sonny's the M-A-N! You want to hear a great record, try the recently released in Japan of Sonny's At the D.J. Lounge. Awesome cooking record with one hell of an organ player, Edward Buster, and John Board on tenor sax. Sonny will blow you away on this one.

Not sure what your point is by listing those. Most of us know they're out of print. And Mosaic has listed these as well. However, they show up on Ebay quite a bit. Some of us have spent a lot of money on Ebay to acquire a lot of those sets, myself included.

As part of an email to Mosaic about the Mosaic Select Bennie Green, I also asked about a Three Sounds Mosaic Select, which I do every couple of months just to "keep hope alive". Got a response back from Michael, saying that he's trying to figure out a way to divide up the Sounds "legacy" into 3 or 4 Mosaic Selects. He believes that might work.

It never stopped him before!

Well, I only have Along Came John from this group so I welcome this set. I'm glad Blue John's not in it. Not a huge Braith fan. Maybe the All Music review for Understanding is something that was borrowed a BNBB posting

I don't see anything on their web site. Tod, did they email you about this. I didn't get anything. Any chance, you or someone else could post what they sent to you. So much for being a good customer.

My feeling about the Select series is that it's a way to get the music out without having to make a big investment: no big box and no book to have to create or pay for. It's a way to do it inexpensively and allows them to concentrate on a few full blown box sets. Otherwise, it may take a while to get them out. In addition, some of the Mosaic Selects they may be putting out may not be large enough to warrant the full Mosaic treatment (like the Carmell Jones). You may complain about certain aspects of what they're doing but if they're financially limited by what they can do and they can get the music out, what's the problem. Better this way than no way at all. Had it not been this way, I doubt I would have ever gotten to listen to some of Carmell Jones' music.

Huh?

Unfortunately, this isn't going to help but the following discography indicated that it's probably hard to find: http://www.icnet.ne.jp/~acchan/wk.htm#1950

Frankly, I can't imagine life without the blues or jazz without it. It's part of what we are. I came to jazz because of the blues and Howlin' Wolf remains important to me. The blues is so much part of jazz to say that it's irrelevant demonstrates a lack of knowledge of what jazz is about. Charlie Parker was a player of the blues. Parker's Mood is an important part of modern jazz. Should we just disregard what has gone on before us? I think that's the nub of the problem and it's not just a musical problem. Today's youth (I hate that phrase) seem to think that history and society start with them so let's disregard what's happened before. Much of modern music owes what it is to what happened previously and that includes the blues. It's part of the strain and can't be ignored or deemed irrelevant.