montg

This is a microcosm of what's happening to jazz artists more generally. The corporate mergers and the resultant push to grab every last cent is hurting a lot of talented people. It's been too long since we've had a new recording from Kenny Garrett, Nicholas Payton, Stefon Harris etc....

Thanks--I sent a PM in return.

Box. booklet (#787), 6 CDs, used but near-mint shape. 85.00 (includes priority mail shipping in US). Payment by check or money order. Thanks

Here are a couple of fairly lengthy threads that provide a lot of recommendations for small group swing in the Swingville era--there's some discussion of Swingville also, I believe swing stars in the 50s small group swing

Chambers' bowed bass playing was very often very out of tune. Now that you mention it, Chambers sounds out of tune to me on other recordings too--particularly the Coltrane/Burrell one. I always figured it was just the recording or the remastering (which it may be, but the tuning is a factor I hadn't considered). Interesting.

If you're listening to 50s jazz, you are listening to modern cats.

So, somebody could be playing the blues, structurally, without the feeling (which, not to be negative, but this is how I sometimes here the Lincoln Center stuff--form without feeling). I guess you have to have the feeling of the blues in order to be playing them. (that is, not feeling blue, but expressing an attitude toward life or life's problems).

What are the blues? People talk about Charlie Parker and Ornette being great blues players, for instance, and I can't really hear what they're talking about. To me, the blues is the familiar 12 bar structure with the blue notes and chord progressions--WC Handy and that type of thing. Are there many contemporary jazz players who can authentically play the blues?

Genuisus are rarely recognized in their own time. But I wonder if Wayne had self-produced SNE and released it on CDbaby--would Speak No Evil still be unrecognized? It seems to me that the labels (mega or even some of the independents) still serve a function by drawing our attention to particular works and promoting them.

Coleman Hawkins All Stars (with the great Vic Dickenson) is a good one. (good sound too I think it was recorded by RVG, as most of these were)

This is great news. Thanks for sharing it

Interesting points. It seems like in the past jazz related to big questions--questions about race, democracy, freedom, art....I mean even the State Department in the 50s thought that jazz related to these deep American values. I agree the relevancy of jazz to these big questions seems to have diminished, and so the opportunity to relate to a larger audience is also diminshed.

Geez that's depressing. Doesn't mean it isn't true, but it's depressing nonetheless. Was jazz really vibrant/relevant to people after the 30s? There was the populist moment of glory in the swing era, but after that....? How many records did Sonny Rollins sell in the 50s compared to say Patti Page or Dion or whatever. Jazz is always going to appeal to maybe 3-5% of listeners and for us--that small percentage-- it still maintains its vibrancy. I mean, I'm on the edge of my seat these days when I listen to Kenny Garrett. And someday Kenny Garrett will be in the canon and our grandkids will be collecting Mosaic selects of him. The problem with Blue Note and all the other megalabels is that 3-5% ain't enough anymore. Quality acoustic jazz is somewhat profitible over time but that's too modest for the corporate mentality.

I thought I'd bump this thread up,,,I just picked up this set and I'm pleasantly surprised at how good it is. The 'swingers set' with Raney and Hall is probably my favorite so far, but all the sessions are very good. For whatever reason, I thought this music might be kind of stiff and boring, but far from it.

Perhaps because you meant to look for Etta Jones. time for those bi-focals I keep putting off

The new RVGs--some summer greaze included this time around: Available for preorder at cdunivese for 8.39 (interesting note about the Cookbook CD from the concord home page: "Thanks to the recent discovery of the stereo master tapes, this RVG reissue marks the first appearance of the classic album in true stereo, and also includes a new alternate take of “But Beautiful” as well as the bonus track “Avalon.”" concordnewreleasepage Lockjaw Davis Cookbook Vol. 1 Miles Davis Wallkin' Etta James Don't Go To Strangers Jack McDuff The HoneyDripper John Coltrane Soultrane (sorry, can't find an image for the Etta James CD)

I bought my first CD player with some wedding money when we got married in 1990. I don't remember for sure the first CD I bought, though Bob Dylan's 'Oh Mercy" was surely among the first. My first jazz CD, which I still have and which was a perfect introduction to the music, was actually one of those dreaded Verve compilations, purchased in 1995

The ratio of decent jazz releases to pop has changed dramatically in the last year or two. Rather than the Norah Jones windfall 'subsidizing' jazz, it appears that the Norah Jones succss has just made them hungrier for more of the same

me too!

What are some highlights from this label? The Eddie Henderson looks good.

Glad to see this thread reappear. This is a set I keep intending to order, but I always seem to bump it at the last minute because something new from Mosaic is released that I want a little more.

Not sure why, but I find myself rarely spinning Goodman's CDs anymore. He seems less and less interesting to me, aside from the trio/quartet stuff in the 30s. Nevertheless, happy birthday to the king of swing

Disc #1 I'm lovin' Qunichette and Lockjaw

Another jazz player going the self-produced route. This is a little different I suppose because people like Dave Douglas and Dave Holland had already built up their audience before going the independent route. Not sure what I think of the music on the CD, though I'm sure Strickland is very promising. marcus strickland sound samples at cdbaby cdbaby