robviti

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?

i like the way he plays, and i like the way he rants.

actually, muse did release ricky ford's saxotic stomp and hard groovin' on cd, and bill barron's the next plateau as well. i really like woody shaw's recordings for muse, especially moontrane and the iron men. i think my all-time favorite muse release is phil woods's musique du bois. i'm glad we got a second chance to hear some of the muse catalog through the reissues on 32 jazz (both labels were owned by joel dorn, leeway). oh, but the horrible packaging! ugly artwork, a glued-on cover that slowly comes apart over time, and dorn's essays (some boring, others truly mind-boggling) that sometimes had nothing to do with the artist! one day, i hope somebody else will take a crack at this catalog with new remasters (some of the original recordings don't sound very well recorded), original artwork, and no glue! B-)

sorry r.t., but i have to agree with mike on this one. just because a musician has a prominent role on a date as a composer, arranger, or instrumentalist doesn't make him the leader. i think of the leader of a recording date as an employer, a foreman, or a facilitator, i.e., the guy who was given the opportunity or responsibility to get things done. he might not be a composer or arranger, but that doesn't mean he can't lead a date, does it? he often chooses the personnel for the date and decides what roles those artists will play. if one player's compositions or arrangements are featured more than others, it's probably the leader's decision to do so. that's what makes him the leader. still, i like the basic idea of this thread. imo, the idea to release or reissue a recording under another artist's name has largely been a business decision, i.e., put a more popular name on the cover to sell more units, even if he was a "sideman." here are a few of my favorites. interestingly, all of them involve the black lion label: rocky boyd's ease it is also dave bailey's bash later becomes and my favorite: is the same as but the real leader of that date is trombonist willie wilson! this may have been his only recording and it has never been released under his name.

me too. i was too busy eating that white paste. and damn fine it was!

wait just a second there skeeter! the man said it shouldn't be a copy of a specific blue note lp. he didn't say it couldn't be on blue note!

thanks for the post. i've been to dusty's store a few times, but i never realized there was a reckless records so close by. however, you forgot to mention my favorite stopover when i'm in that part of town: smoke daddy rhythm & barbecue. it's around the corner on w. division. great food, cool atmosphere, attractive waitresses, and interesting live music at night. mmmm, barbecue

so, how much more would you be willing to pay per disc for a hybrid box?

they might sample jazz, but they ain't jazz.

i thought it wasn't supposed to be a copy of a BN lp?

claude, i don't think you understand the underlying meaning of meadoweagle's offer to "discuss things." he's being discreet, which is appreciated by many, i'm sure.

yep, that's the one. mackay is mentioned on the band svengali's website. maybe they can help you out: svengali also, you might want to check out this volunteer jazz site: birmingham jazz