montg

I received this set about 6 weeks ago and it was #2976. I don't know if this resolves the question, but that number is about what one might expect if the sets are sold, roughly speaking, in sequential order.

I've been meaning to pick this one up, if for no other reason than Billy Mitchell and Bobby Hutcherson are among the sidemen. A lot of those Argo Al Grey recordings remain unissued--perhaps a good Mosaic set?

The Verve LPR series is turning out to be a great reissue program. great music, remastering, and such a range of music (surely something for everyone). And, supposedly, a limited run, with some going out of print soon. I have about 7 or so, with my favorites being Billy Mitchell and Sweets. What are some favorites and hidden gems in this series? I've provided a complete list below. ---------------------------------------------------------------------------- Julian Cannonball Adderley Cannonball Adderley Vacation At The Concord Machito Alexandria The Great Lorez Alexandria My Kinda Swing Ernestine Anderson Patato & Totico Patato & Totico Afro-Harping Dorothy Ashby Music Is The Healing Force Of The Universe Albert Ayler King Of Swing Count Basie Songs I Love To Sing Brook Benton 'S Make It Art Blakey A New Dimension Willie Bobo Jazz Cello Ray Brown Chicken Fat Mel Brown 1975: The Duets Dave Brubeck & Paul Desmond At Newport The Gigi Gryce-Donald Byrd Jazz Laboratory & The Cecil Taylor Quartet Candido Candido Camero Swing Around Rosie Rosemary Clooney The Al Cohn Quintet Featuring Bob Brookmeyer Al Cohn Waiter, Ask The Man To Play The Blues Freddy Cole Soul Sisters Gloria Coleman Quartet Universal Consciousness Alice Coltrane Cugi's Cocktails Xavier Cugat After The Ball Frank D'rone My Gentleman Friend Blossom Dearie Soubrette: Sings Broadway Hit Songs Blossom Dearie Mr. Clarinet Buddy DeFranco Buddy And Sweets Buddy Rich & Harry 'Sweets' Edison Sweets Harry "Sweets" Edison Steel Guitar Jazz Buddie Emmons California Here I Come Bill Evans The Jazztet At Birdhouse The Jazztet Whisper Not Ella Fitzgerald Sings Sweet Songs For Swingers Ella Fitzgerald Hello Love Ella Fitzgerald I Love John Frigo…He Swings John Frigo Slim Gaillard Rides Again! Slim Gaillard Stan Getz And The Cool Sounds Stan Getz Reflections Stan Getz Terry Gibbs Plays Jewish Melodies In Jazztime Terry Gibbs The Shadow Of Your Smile Astrud Gilberto Afro Dizzy Gillespie Sittin' In Dizzy Gillespie The Easy Way Jimmy Giuffre Snap Your Fingers Al Grey Johnny Griffin Johnny Griffin Jim Hall Live! Jim Hall Woody Herman 1963 Woody Herman Once Upon A Time Earl Hines Gerry Mulligan Meets Johnny Hodges Gerry Mulligan & Johnny Hodges Desert Winds Illinois Jacquet Chamber Music Of The New Jazz Ahmad Jamal J.J.'s Broadway J. J. Johnson Roger Kellaway Cello Quartet Roger Kellaway The Formative Years Stan Kenton Kirk In Copenhagen Roland Kirk Involvement John Klemmer Motion Lee Konitz Gene Krupa Plays Gerry Mulligan Arrangements Gene Krupa The October Suite Steve Kuhn & Gary McFarland The Golden Flute Yusef Lateef Another Voyage Ramsey Lewis Grrr Hugh Masekela Birds Of A Feather Carmen McRae Equinox Sergio Mendes & Brasil 66 The Fool On The Hill Sergio Mendes & Brasil '66 This Is Billy Mitchell Billy Mitchell Willow Weep For Me Wes Montgomery James Moody James Moody Gerry Mulligan And The Concert Jazz Band At The Village Vanguard Gerry Mulligan Joe Newman Quintet At Count Basie's Joe Newman Incomparable! Anita O'Day Spanish Rice Clark Terry & Chico O'Farrill Soul Español Oscar Peterson A Jazz Portrait Of Frank Sinatra Oscar Peterson Manhattan Latin Dave Pike Blues Caravan Buddy Rich How About Uke? Lyle Ritz Crystals Sam Rivers Jazz In 3/4 Time Max Roach Ask Me Now Pee Wee Russell Piano, Strings And Bossa Nova Lalo Schifrin Tony Scott Tony Scott Attica Blues Archie Shepp The Cry Of My People Archie Shepp Cat On A Hot Fiddle Stuff Smith The Boss Jimmy Smith New York Jazz Sonny Stitt Personal Appearance Sonny Stitt High Contrast Gabor Szabo Mis'ry And The Blues Jack Teagarden Gospel Train Sister Rosetta Tharpe Soul Bird: Whiffenpoof Cal Tjader Olé Tormé Mel Torme Tormé Mel Tormé It's A Man's World Sarah Vaughan Margaret Whiting Sings The Jerome Kern Songbook Margaret Whiting Phil Woods And His European Rhythm Machine At The Montreux Jazz Festival Phil Woods

I picked this up last week but have only been able to listen to it a couple of times. It may take some time for it to grow on me...there's kind of a static, stationary quality to the music that's not especially appealing to me....I guess I'm not hearing (or missing) something rhythmically.

I picked this one up recently and--it is every bit as good as the hype. I had seen this album described before as one of the great modern mainstream recordings and it's had to argue against that claim. Everything is working..the rhythm section is swinging, Kessel contributes interesting lines and color when he's not punctuating the rhythm. Sweets and Webster complement each other perfectly. This one has sent me in search of Sweeets' Verve Elite that I had previously passed on.

I bought his new CD a few months ago. The biggest drawback I thought, was that it was all over the place, stylistically....hard bop on a few cuts, smooooth-sounding on another two, a gimmicky wah wah electronic effect that was way overused on another song, a hip hop inflected song... maybe this makes for a lot of fun live, but on a CD it's way too disjointed for me. The talent is certainly there, it seemed to me, but he could probbly have used a good producer.

Indeed!! I should have consulted you instead of my preschooler.

I've been really appreciating Curtis Fuller recently, particularly his Messengers work. Which leads to my regret: why didn't I pick up the COmplete Blue Note sessions from Mosaic when I had the chance??? I distinctly remember debating it in my mind as it was going OOP--there were some other CDs that I wanted to spend the 50 bucks on--SO I built a rationale for why I shouldn't pick it up. I remember playing a sound sample from the Mosaic website as the OOP status neared, and asking my 3-year-old, "do you like this?". I don't remember what she said but she was less than enthusiastic (big surprise) and I said that's it, I'm not biting on this one. Dumb move, obviously. Anyone else with regrets--letting one slip right through your hands? Or am I the only one?

Just from an historical perspective--his role on the early Blue Note recordings of Monk and of the Mesengers, as well as his role in soul jazz--he deserves love and tributes from festivals, Lincoln Center etc.

Thanks for the feedback. I was wondering about Blue Lights--it looked mighty tempting, but Louis Smith is unfamiliar to me and the sound samples on amazon are obviously limited.

I recently picked up one of the Prestige jam sessions ('Funky' by Gene Ammons) and I've really been enjoying Burrell on it. Other than his date with Coltrane, I don't have any CDs where Burrell is a leader...so I'm pretty wide open for any and all recommendations.

Thanks for the review! I happened across a couple of free MP3s from the new CD on Savoy and was really moved by the music. Iyer mp3s This wasn't even on my radar before hearing those cuts--like ejp says, the music is intricate, but not at the expense of power. With the vamps and Indian influence, the Coltrane connection is there, but Iyer didn't sound much like Tyner to me. Actually, the combination of power and intricacy reminded me more of Jason Moran. Anway, I'll be picking up the new CD.

I recently came across a review of this set from NPR. eldridge review warning: hearing the excerpts of the music during this review will cause anyone on the fence to immediately go to the mosaic web site and purchase it--the music is THAT good!

Absolutely--I couldn't agree more with this recommendation. The Hackett & Wiley combination is unbeatable. "Look at me now", "Manhattan"... This is available on the Condon Mob Mosaic set in wonderful sound, but obviously the set itself wouldn't be the place to start. But I think this session may be out as a single CD somewhere. Maybe try the collector's choice web page. Just checked--here it is: lee wiley

The Verve complilation, "Little Jazz the Verve Years" seems to have gone out of print. If you can find it somewhere that'd be the place to start, imo. IN fact, other than the Mosaic box, the Verve years are not very well represented right now (except for the jam session with Diz, which has never been a favorite of mine though I ussually see it referred to as a classic, so what do I know). Eldridge first grabbed me by the ears on the COunt Basie Newport CD on Verve--(there's not a lot of Eldridge on there, but his solo on one o'clock jump made me a fan forever) Some other sideman appearances during the Verve years that might be useful introductions to Eldridge: Johnny Hodges (Side by Side), Lester Young (Jazz Giants), Ben Webster and Associates, Benny Carter (the Urbane Sessions--a session he co-led with Carter is on there and is also on the Mosaic set). Verve (modern day Verve/Universal) has not done justice to Eldridge. They virtually have a monopoly, since they own all the Decca and Keynote material, plus the stuff he did on Commodore with Hawkins. Somewhat later in the day, "Nifty Cat" (from 1970) has some great playing (I think Budd Johnson is on there also).

I'm interested to hear opinions about how Addey's work compares to previous reissues..for me, some of the Verve releases I've purchased [King of Swing, April in Paris, and COunt! (import)] were prettty mediocre sound wise, even for the era.

That's a good question. I have some Warren Vache, which I like well enough, but it's been a while since I've listened to it. For me, I guess there's a sense of energy or maybe immediacy that's lacking in this genere. I grew up in the rock era and the music that's of my time, so to speak, is music that's loud and fast. Incidentally, I love the Chicago jazz (Condon) and swing era music played by the originators (I include Davern & Braff & Wilber here)--for some reason the immediacy and energy in those older recordings is very present for me. One thing I've always wondered is why very few African American artists (and Latinos, for that matter) seem to be drawn to the Vache-Hamilton axis of swing style.

I've had this for a little while and it's been really growing on me. I've listened to it about two or three times today and all I can say is there's some really beautiful--and powerful-- playing on here. Moran's doing something that sounds really fresh to me--I couldn't begin to describe it in technical terms, but there's something happening here, Mr. Jones. And, gee, he's breaking ground without DJ Scratches in the background and without recycling 80s Miles (in other words, without conflating fad and innovation).

I think I follow this, generally. Maybe the thinness of the clarinet in bop contexts is more noticeable to me, compared to other instruments, because I'm particularly fond of that deep, woody sound that CAN come from the clarinet. Bechet playing Blue Horizon on clarinet is one of the greatest glories of jazz--the beauty of the instrument comes through even with the relatively primitive recording methods.

A couple of people have mentioned the thinning tone in the context of bop lines--why would the speed or the harmonic challenges of bop impact the tone? Just curious. I've tried to appreciate Buddy DeFranco, put his tone just sounds so grating to me. Like it's always thin and always a little bit sharp. I can't even listen to the Hampton/ DeFranco Verve sessions because of the SOUND of the clarinet. It really irritates me. And I normally love to hear the clarinet---I could listen to Edmond Hall all day. And Bechet had a nice sound on the clarinet on those few occasions when he put down the SS.

I've been piecing together this set since I missed buying it from Mosaic--so far I have 2/3 of the set (I'm missing discs 3 and 4). Anyway, there's some great Coleman Hawkins on there too. I suppose this music is a cornerstone of the 'mainstream' opened up in the 50s and 60s by the swing era stars. If you like this, the Columbia swing set Mosaic just put out would probably be a good complementary set. And don't forget the wonderful Vanguard sessions produced by John Hammond in the early 50s. More Buck Clayton, Hawk, Braff etc.

Henry Grimes was featured today on NPR. henry grimes npr

I'm arriving somewhat belatedly to the Ammons bandwagon, having been influenced by the lukewarm reviews in the Penguin guide, I guess. Live and learn. The jam session 'Funky' with Art Farmer, Kenny Burrell, Jackie Mclean, Mal Waldron etc. is outstanding. 40 minutes of warm, unhurried swingin' the blues..a real treasure. Something easy to overlook, but I'm beginning to realize how rare this type of warmth and depth can be in music.

Revenge? Upon the great god Dollar.

Japanese Victor (JVC or VICJ) seems to pretty regularly release fantasy and Concord titles. This may be our only recourse eventually as the domestic program withers.