montg

Does anyone know if these are limited to a specific number of copies like the sets? Or is the productin run more open ended?

Thanks for the reminder! I pulled out the 3CD set tonight and cued up 'Moonglow'--wonderful. I had forgotten, incidentally, how good the sound is, generally, on the RCA set. Krupa's bass drum comes through very clearly.

thanks--pm returned.

I'm selling the Complete Teagarden Roulette sessions. The set is slightly used, and like new. It's number 714/5,000. I'm asking 59.00 for it (price INCLUDES first class shipping via the US Postal service). U.S. only please (sorry). Check or money order. If interested send a pm. Thanks.

Me too! Big thumbs up for all the records mentioned. The stuff with Russell & Hawkins is desert island material! Another one I like a lot is "Feeling Good" on Columbia, recorded right near the end of Allen's life. The dufus at AMG dumps on this record, but I'm sorry, he's wrong! Red's singing and playing on this are marvelous. Also, for late Red, I'd recommend "Mr. Allen" on Prestige, reissued as "The Henry Allen Memorial Album". To my knowledge, neither of these has been on CD, but they are worth tracking down on vinyl. I'd like to hear the Columbia album, maybe Mosaic will issue it in their 'singles' series. The 1957 session with Hawkins on RCA is way overdue for a remastering--it's such a fabuous session, but it's so flat-sounding, all the worst characteristics of '80s CD technology. I also love Red Allen's playing with Kid Ory on the Verve sessions in the 50s. I've got the twofer with Newman that Chuck mentioned. I don't listen to it much, not sure why. It's an odd pairing, I'm not sure why they matched up the Joe Newman CD with the Allen. Red Allen is so unique and free. With those weird buzz tones and smears, and the crazy phrasing, he's one of a kind.

This was my experience too, about a year or two ago. I've never ordered from them since. Nothing annoys me more than ordering something supposedly in stock, only to wait, wait, wait...only to finally learn that someone simply didn't update the website

I'm curious if anyone has had the opportunity to hear this yet. A couple of tracks are available here, and they sound intriguing (i've really been digging the sound of the fender lately, for some reason) meaningandmystery The only CD I have of Douglas is the chamber jazz stuff ("Charms...' with the accordian), and it leaves me really cold. The quintet though, with Clarence Penn, looks a lot more interesting.

This is spot on. Why is it that we hash this whole topic over every few months? We see the same shit every time. To expect another Marvin Gaye is like waiting for the next Bird. It ain't gonna happen. Culture evolves, as does the musical continuum. Remember Lincoln Logs? Man they don't make toys like they used to... Culture evolves, but that doesn't mean it progresses. I'm not pining for the past, but I'm sure not gonna say that 21st century America, from a cultural standpoint, has progressed from where it was 30 years ago. I'm hoping for a way forward.

This is where he lost me. Guy Actually, this is the part that makes the most sense to me. I'm not saying melody and harmony are absent from rap (I'm not familiar enough with the genre to catch the nuances, if they're there)--but, all I hear in rap is headache-inducing rhythm. Hard for me to find anything spiritual or transcendent & those are the qualities I'm looking for. OTOH I hear nothing but spirit when I hear Same Cooke. Or Marvin Gaye etc. Of course, as Martin Williams once said, when people hear jazz, they ask "where's the melody?".

How about 'Take Ten' with Jim Hall and Paul Desmond? A nice mix of Bossa stuff plus standards

I sent an e-mail to them a few days ago asking that they do some sort of tribute to Jackie Mac. The next afternoon I happened to catch a Ben Sidran interview with JM on XM that they apparently played as a tribute. I'm not suggesting there's a connection between my e-mail and airing the interview, but I am suggesting you directly e-mail them. If enough people complain... Anyway, I agree, one specially aired interview isn't enough by any stretch.

The boomy bass on the Burrell/Coltrane is characteristic of the K2 also. I was hoping RVG could improve it some.

No Ornette. No Bix. I'm missing some of the newer all stars, like Kenny Garrett. No Keith Jarrett. I'm not sure what underlying thread connects those holes, it's an odd mix. For those sans big band leaders, how about "First Time!" which combines the Basie and Ellington bands? You could fill two holes at once

Another vote for the Vanguard sessions. The adjective that always comes to my mind when I think of Buck's playing is balance. The phrases seem to tumble out in a right-sounding order, his intonation and control are right on. And of course he's swinging. Vic Dickenson--who's a little more gritty--makes a perfect foil and the Vanguard sides that feature the two are priceless. I would rate 'Way down yonder' with Lester is one of my top 10 favorite cuts in all of jazz. For some reason I've never warmed to the Columbia jam sessions--I mean they're great and all, but I don't listen to them all that much. maybe it's the sound/recording--for me it has always sounded cavernous and distant.

Has anyone had a chance to compare these with the K2s (or other remasters)? I'm not a real big fan of the K2s (the bass just doesn't seems as defined as the RVGs for Blue Note), so I'm hoping the Prestige RVGs are an improvement. Miles Davis Quintet Relaxin' With [Rudy Van Gelder Remaster] PRCD-8104-2 Kenny Dorham Quiet Kenny [Rudy Van Gelder Remaster] PRCD-8108-2 Modern Jazz Quartet Django [Rudy Van Gelder Remaster] PRCD-8110-2 March 21, 2006 John Coltrane Lush Life [Rudy Van Gelder Remaster] PRCD-8103-2 Kenny Burrell/John Coltrane Kenny Burrell&John Coltrane [Rudy Van Gelder Remaster] PRCD-8107-2 Gene Ammons Boss Tenor [Rudy Van Gelder Remaster] PRCD-8102-2 $11.98 Eric Dolphy Out There [Rudy Van Gelder Remaster] PRCD-8101-2 $11.98 Red Garland Red Garland's Piano [Rudy Van Gelder Remaster] PRCD-8109-2 $11.98 Coleman Hawkins The Hawk Relaxes [Rudy Van Gelder Remaster] PRCD-8106-2 $11.98 Sonny Rollins Saxophone Colossus

I recently picked up Arthur Blythe's "Lenox Avenue Breakdown" and gave it a spin tonight for the first time. Very nice! A great "inside/outside" session. Really cool instrumentation, with James Newton's flute, the tuba, and Blood Ulmer comping on electric guitar. It's a shame that Columbia didn't stick with Blythe.

The Chu Berry has been pushed back to 2007.

'Free' is the right term, imo. One of the first jazz CDs I ever bought was Hines live at the Village Vanguard (Limelight recording with Hawk and Eldridge). Exciting stuff. I think I would rather listen to Hines than just about any other pianist--those tremolos, the unpredictable rhythmic shifts etc. I love it all. Where Art Tatum sounds cold and stiff to me, Hines just brims with spontanaity (even though he must have played Honeysuckle Rose a thousand times, he's still digging into it like it's brand new).

I'm giving this a spin right now--first time I've heard the material. NIce sound. I'm really digging Mabern. What more can you say about HIggins? That beautiful cymbal work makes so many mid 60s BN sessions glow!

Thank you for the link. There are more live recordings than I figured.

One of my favorite live recordings is the Red Clay bonus track recorded for CTI and released on the 2002 reissue of Red Clay. Something about the era, the energy that really moves me (btw, does anyone have any familiarity with the Southgate Palace in LA, where the Red Clay recording was made in 1971?). Anyway, I'm curious about how much live stuff from the CTI roster in the early 70s (Turrentine, Hubbard etc) is available in one form or another.

Check out Walt Weiskop's 'Anytown' on Criss Cross (with Joe Locke) for some more great playing by RR. Is she still recording for Blue Note? It seems like it's been awhile.

This looks like a winner to me. The genesis of Louis Armstrong is bound to be a fascinating story. It's forthcoming at the end of the month. Book description from publisher (Norton) book home page In the early twentieth century, New Orleans was a place of colliding identities and histories, and Louis Armstrong was a gifted young man of psychological nimbleness. A dark-skinned, impoverished child, he grew up under low expectations, Jim Crow legislation, and vigilante terrorism. Yet he also grew up at the center of African American vernacular traditions from the Deep South, learning the ecstatic music of the Sanctified Church, blues played by street musicians, and the plantation tradition of ragging a tune. Louis Armstrong's New Orleans interweaves a searching account of early twentieth-century New Orleans with a narrative of the first twenty-one years of Armstrong's life. Drawing on a stunning body of first-person accounts, this book tells the rags-to-riches tale of Armstrong's early life and the social and musical forces that shaped him. The city and the musician are both extraordinary, their relationship unique, and their impact on American culture incalculable. 16 pages of illustrations.

I've had the opportunity to listen to this most of the way through on a couple of occasions. A lot of beautiful music here. As others have said, Tardy and Tolliver etc appear to be pretty much in synch with Hill's vision and there's an organic, meditative feel to a lot of what I heard. Anybody who enjoys Hill's music can't possibly be disappointed. Tardy does evoke Dolphy at times, I think. Have to disagree about the recording quality. The piano sounds good, but nothing special with the sound of the horns. The bass is mixed in a very muddy way, a lot of times it's lost in the drums (at least that's how I hear it on my system). No clear & defined bass, like Richard Davis on the 60s RVG recordings. It's astonishing to me that the recording/engineering of jazz often seems to be no better than it was 45 years ago and sometimes things seem to have even regressed. Minor complaint in the overall scheme, however--the music is as wonderful as I hoped it would be. I look forward to hearing more informed opinions.

Pit bulls should be outlawed. they're not dumb, they're just tenaciously aggressive to the point of pathology sometimes.