montg

Believe me, I feel your pain. Those glowing comments seal the deal for me--the problem is, the OJC fire sale has just set me back big time in terms of budget. So this set will have to wait a little bit for me, but not too long.

I just ordered 21. I originally intended to only order 10, but this sale defies the laws of physics, the more I bought the less expensive things became. OJCCD-1823-2 Lil Hardin Armstrong - Chicago: The Living Legends OJCCD-1931-2 The Birdlanders - The Birdlanders, Vol. 2 PRCD-7109-2 Miles Davis - Bag's Groove PRCD-7130-2 Red Garland Quintet - All Mornin' Long OJCCD-1887-2 Herbie Harper - Jazz In Hollywood OJCCD-1904-2 Jimmy Heath - Swamp Seed PRCD-24215-2 Claude Hopkins - Swing Time OJCCD-1918-2 The Jones Boys - The Jones Boys PRCD-24230-2 Taft Jordan - Mood Indigo RCD-242-2 Thelonious Monk - Monk's Music RCD-1169-2 Wes Montgomery - Incredible Jazz Guitar OJCCD-1847-2 Billie And Dede Pierce - Blues And Tonks From The Delta PRCD-24231-2 Buddy Tate/Claude Hopkins - Buddy & Claude OJCCD-1878-2 Duane Tatro - Jazz For Moderns PRCD-7038-2 Sonny Rollins - Plus 4 RCD-241-2 Sonny Rollins - The Sound of Sonny PRCD-7020-2 Sonny Rollins - Worktime PRCD-7047-2 Sonny Rollins Quartet - Tenor Madness OJCCD-1824-2 Franz Jackson - Franz Jackson's Original Jazz All-star OJCCD-1888-2 Harry Babasin/Bob Enevoldsen - Jazz In Hollywood OJCCD-1899-2 Charles McPherson - From This Moment On!

I have a single CD from this set (the one with Buddy Defranco) and for the longest time it mostly sat unperturbed on my shelf. But recently I gave it a spin and something clicked and I've really been enjoying this; Hamp swings like crazy and seems to never run out of ideas. I'm wondering if anyone has any opinions about the complete 5 set CD. Is it worth 60 or 70 bucks or do the sessions tend to run together in sameness after a while? How's the sound? Thanks

A lot of the fun in building a jazz collection for me comes from trying new things, exploring those styles and artists off the beaten track. This board is an excellent guide in that respect. And then once I find something I like, I just follow where the path leads.

npr feature on the book here. nprjazz.org

Actually, I had the opportunity to listen this afternoon. Still no-go for me on the Limbo jazz, but there is some lovely playing on the album. Hawk on 'Mood Indigo' more than makes up for the Limbo stuff, I guess. But boy, that Limbo riff is going to be stuck in my head the rest of the day

This is one I've neer really warmed up to. That tacky 'Limbo jazz' at the outset kills it for me. I'll have to give it another spin though, it's been a few years since I've listened to it.

I really like his new one "Apparitions" on Criss Cross. WIth titles like "labyrinth" and "Tyranny of Fixed numbers" you'd think this would be overcomposed and boring. But there's actually a lot of space for solos and for the tunes to breathe. Plus, a great band including Chris Potter and Clarence Penn (I absolutely love Penn's playing--he ensures there's plenty of warmth and fire.)

The sound samples on the Mosaic site sound really good and this set has moved to the top of my list. I don't have much of this on CD (or vinyl)--in fact Dizzy is underrepresented in my collection. I have the Diz-Bird Uptown CD, a compilation of the RCA years, and the State Department Big Band sessions...so not a lot. Looking forward to becoming more acquainted with Diz!

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