robviti

does this milk taste bad to you?

here's what's on the lonehill: 1. Burning Spear 2. Music Matador 3. Jitterbug Waltz 4. Ironman 5. Mandrake 6. Alone Together 7. Come Sunday 8. Ode To C.P. 9. Love Me is anything missing? p.s. now i'm a supa groover? do i have to go out and buy different clothes?

Has anyone purchased the recent Lonehill Jazz reissue Eric Dolphy: Complete Memorial Album Sessions? It features all nine tracks originally released on Iron Man and Conversations on one cd. Currently, I own Music Matador on LeJazz which only has some of the tracks from the original recordings. Btw, Dusty Groove has both Iron Man and Conversations on sale for 5.99 and 6.99 respectively (the bastards ). The Lonehill reissue is 11.99, but is currently out of stock.

i agree that as we are now is a good place to start. although it is oop, it's easy to find. there are sealed copies on half.com for about $8, and this disc is listed on ebay quite often.

i think my local jazz store has used copies of both the salvador and watkins discs. you can contact them through their website: stereo jack's

do i sense a coming on?

add woody shaw's little red's fantasy to that list. maybe that's why michael was so keen on hearing it on my car stereo 2 years ago when we dropped by mosaic to see him. great recording, btw. B-)

hey bj, i suggest you post this inquiry in the "offrering and looking for" forum to get the best results. in the meantime, i'll look around for the covers you've requested.

tower records has had access to collector's choice stock long after they were oop because the company that distributed them is owned by the same folks who own tower. as far as these cds not being part of the current sale, tower.com does list them as being 25% off. finally, "out of print" is a category tower uses to denote titles that they have in stock, but cannot be reordered after the current inventory is depleted. in effect, how many you see is how many they got.

the camden series also reissued sets featuring muse titles from pepper adams and clifford jordan.

according to the libertarians, the piano is responsible for keeping itself in tune!

marla, i saw clark terry and hank jones there last month, and i'm going to see conrad herwig tomorrow night. there has always been a cover charge at the regattabar, and it has increased considerably since the blue note takeover. unfortunately, they have not done a very good job of advertising, and as a result some of the shows have been poorly attended.

it's already on sale. check out amazon.com

can't say i'm surprised by arguments like this, as it comes from someone who believes this: when i read such things, i can't help but think about this golden oldie: "Let them alone: they be blind leaders of the blind. And if the blind lead the blind, both shall fall into the ditch." Matthew 15:14

i agree. i think they borrowed the piano from the five spot nightclub. B-)

i never cared much for slinkys (they broke too easily), but i really liked the innovative idea of having a line of guitar accessories. thanks ernie.

i have pony canyon's reissue of phil woods's musique du bois. sony records also reissued some great muse titles in the late 90's, including woody shaw's moontrane. i have their dsd remasters of shaw's in the beginning (aka cassandrite) and love dance. they sound excellent!

anyone who gets a haircut for $10 and looks for a reason not to leave a tip should seriously consider buying one of these:

according to watson's homepage, horizon will be performing at the Blue Room in Kansas City on the 17th.

i've enjoyed palmieri's later recordings for some time, and i've seen his exciting live show on more than one occasion. one minor complaint, though. the last two times i saw palmieri perform, i noticed his enthusiastic "vocalizations" have become increasingly loud, to the point where it's sligthtly frightening and/or rather humorous. it's a loud grunting sound similar to the monosylabic grrrr that frankenstein's monster made in the movies. am i the only who's noticed this idiosyncracy?

just in case berigan needed some more motivation to delete this thread:

here's amazon.com's listing for the new penguin guide. the release date is 9/28 and the price is $17.68 (free shipping over $25). this seems like a good time to share something i've been sitting on for a few months. it's a note from brian morton that some of you might find amusing: THE SCOTSMAN Tue 20 Apr 2004 1,700 reasons why I have a nasty case of Adjective Fatigue BRIAN MORTON You’ll forgive the implicit plug, but Richard Cook and I have just finished work on what will be the 7th edition of the Penguin Guide to Jazz, a reference book of rainforest-threatening proportions apparently much browsed by hep cats, swingers and the occasional pointy-headed avant-gardist. And God bless every one of them. We started this Sisyphean undertaking more than ten years ago because we were young and needed the money. Now we’re older and need it even more. Over the span, we’ve said farewell to vinyl and musicassettes, seen off palace coups by minidisk and DAT, and seen the reissue catalogue erupt in a pall of boxed sets, best ofs, very best ofs and least worst ofs. If it continues like this, before the next edition looms we’ll both be found frozen in attitudes of surprise under a thick ash of burnt jewel cases and singed liner notes, like citizens of Pompeii and Herculaneum. Either that or divorced and homeless. There’s a certain forgivable euphoria in finishing a book of more than 1,700 double column pages. Like London Marathon finishers, there’s a need to talk. But the process also raises some interesting questions. After a while, endless reviewing comes to seem less like writing than typing, as someone once said of Jack Kerouac. And it makes you aware just how debased the language of critical praise really is. Leaving aside the invidious business of assigning stars and rosettes to artists’ work, there is the danger of wearing out terms such as "extraordinary", "remarkable", "innovative", and "seminal" (though I rarely have the spunk to use the last one), and a very serious danger that you’ll catch yourself thinking that a musician’s work "looks back and forward at the same time, both radical and conservative". In other words, I haven’t a scooby-doo. Then there’s the business of comparison, which is the root of all criticism and also the root of all critical evils. A young singer "merits comparison" with Ella Fitzgerald or Billie Holiday. Aye, they were great; she sounds like a nail on a slate. I know how this feels. In my young day, I was likened to Parker and Gillespie. Unfortunately, it was Jim Parker and Hughie Gillespie. Finally, spare a thought and a few coppers for we sufferers from AF, an affliction every bit as debilitating as ME and IBS, but seldom spoken of outside discreet chatrooms and media snugs. For the last few months, Cook and I have battled Adjective Fatigue. How many new ways are there to describe the sound of a tenor saxophone? I long ago swore a deep vow never to use the term "warm", as jazz critics had for generations; one veteran British writer actually thought the instrument was called the "warm tenor saxophone". I also pledged never to describe a trumpet as "bell-like" until I heard one that really did remind me of Big Ben or the start of the last lap in the steeplechase. Now that we’re on the last lap - just proofs and the index to go - we both lapse into a conversational state reminiscent of a very early Ernest Hemingway story: just the names and numbers of things, no adjective or adverbs, no on-the-one-hand/on-the-other-hand qualifications. It also leaves me peering more literally than sceptically at other reviewers’ work: a play is "lacerating" - really? did you need stitches and a tetanus jab?; a Chopin recital "floods" the Wigmore Hall with sound, and after they’d spent all that money renewing the carpets; Prince’s Musicology isn’t as good as his "seminal" early work - eeeuw! So when you turn to the arts columns today, spare a further thought for the poor bugger who had to get past the "thing words" and the "doing words" and have a stab at telling you what something was like. I’m hoping to start back with colours and shapes by mid-summer and we’ll take it from there. • Donations to AFI (the Adjective Fatigue Institute - pron. "awfy") should be sent via The Scotsman.

i'm afraid it's my fault. i'm not the least bit interested in sacds. i told fantasy i wanted them to continue releasing digitial k2 remasters.i think they sound very good indeed. mea culpa. B-)

not bad, but i still like the collins kids better. check out the sound clips from their bear family box set hop, skip, and jump.

yikes! could i be any more wrong?