montg

Just received the April issue of Jazz Review (UK) and noticed that Bastion of Sanity received a glowing review. RD Cook chooses it as a CD of the month and another reviewer writes "Top marks then for what is unquestionably my fave release of the year so far. Biney is a saxophonist who is like no other around at the moment". All these glowing reviews are bittersweet for me at the moment, however, as I've been waiting for nearly two weeks for my copy to arrive via the dreaded media mail (I've just about run out of patince with the Amazon marketplace sellers and their use of media mail to send a CD even though first class postage is usually nearly the same in cost as media mail ...another story, I know).

I've been listening a lot lately to 'Smack up" from 1960...Jack Sheldon is also on the front line and the K2 version sounds mighty good. A classic session in my book.

Nice shots, thanks for sharing them. That is one fine-looking bass!! There's a good picture of it on WIlliams' recent release on High Note (a CD that I really enjoy, btw).

I recently picked up the JRVG of Face to Face from Dustygroove and the bass lines are clearly audible on my system--and they sound great, as does the entire band! I don't have the Conn, so I can't A/B although I've found other Conns (Stick up! and Shorter's Schizophrenia, for instance, to be a little light on the bass). I'm really lovin' this CD, by the way..I can't articulate exactly what makes Baby Face seem unique, but his approach is really distinctive to me.

Hope you enjoy 'Life on earth' BG. Actually, her ancestory is Indian as in India.

Thanks for the feedback. This box finally arrived after an unexplained delay on the part of DHL(ay). I've only listened to the first disc so far so my impressions aren't particularly well-informed...but what I hear is enjoyable, certainly worth purchasing. Byrd's playing doesn't seem to energize me as much as some other BN trumpeters, but that's pretty stiff competition.I thought Pepper Adams might be there more for adding color in the ensembles but he's definitely a co-leader and delivers on the solos. First impression--not at the top of line (as the Mobley and Turrentine BN sets are for me) but certainly very good. Of course, as I hear the entire set I imagine my reactions will alter to some extent. Actually, the true test of greatness for me regarding a Mosaic set is how much I return to it after the initial newness is gone. So, time will tell.

BG, that's also the first Rosnes CD I bought and my reaction was the same as yours. Besides Rosnes I thought Potter was very good; actually my first exposure to him I think. I picked up 'Life on earth' which has some really nice compositions..there's a little 'world music' stuff here and there, but it adds color and doesn't take away from RR's strengths.

I just received a 50.00 Mosaic gift certificate and Byrd/Adams is next on my list, so I'll be picking it up in the next few days. I can't seem to find a thread devoted to this set...I'm curious to hear what others think of it.

Thanks! That clears it up, I think.

I have to be able to correctly pronounce it first before I can get a sense of how it sounds! When I pronounce it right now, it sounds like a sneeze

According to the Mosaic discography page, the original tapes for this Joe Williams session are lost, so Addey's talents will be put to the test here: (K) COUNT BASIE AND HIS ORCHESTRA: Reunald Jones, Wendell Culley, Thad Jones, Joe Newman (tp), Bill Hughes, Henry Coker, Benny Powell (tb), Marshal Royal (cl, as), Bill Graham (as), Frank Wess (as, ts, fl), Frank Foster (ts), Charlie Fowlkes (bari, b-cl), Count Basie (p), Freddie Green (g), Eddie Jones (b), Sonny Payne (d), Joe Williams (vcl). Fine Sound, NYC, May 17, 1955 2347-2 Every Day (I Have The Blues) (JW-vcl) (EW-arr) Clef 89149 (78 and 45) 2348-5 The Comeback (JW-vcl) (FF-arr) Clef 89149 (45) 2349-2 Alright, O.K., You Win (JW-vcl) (FF-arr) Clef 89152 2350-3 (In The Evening) When The Sun Goes Down (JW-vcl) (FF-arr) - Note: All titles issued on Clef MGC 678. This session is usually given as being recorded on July 26, 1955.

What's the source of this title?

I'm happy to see these words on the discography page: Mastered using 24-bit resolution by Malcolm Addey at the Malcolm Addey Studio, New York City Hopefully Addey worked some magic on some of those early 50s sessions

I'm sure they differ in a lot of ways, some more subtle than others, but I'm mostly too ignorant to pick up on these differences. Mostly, what I hear is that Hubbard is a little more harmonically 'free' and also a little more sloppy (or creative, depending on your opinion) in articulation. I'm curious to learn how others perceive or discriminate between FH and LM.

Concord's priority is getting out, and marketing, their new Debby Boone album, 'Reflections of Rosemary'. They can't be bothered with meeting a release schedule for Coleman Hawkins etc. It's all about priorities. What a mixed up country this is.

"Oh Yeah" was unappreciated by me for a long time. Maybe it was the vocals, maybe it was the jibe at Pops on 'Eat that Chicken', maybe the packaging on the Passions of a Man box. But whatever, I've been spinning this at work lately (volume not too loud!) and, man, this is one crazy, hilarious, and strangely beautiful work. Roland Kirk and Mingus--combustible when mixed!

Some people are never going to get past Dyaln's vocals--the tone(timbre) and the limited range. As noted, his tone was more accessible in the late 60s-mid 70s-New Morning is my favorite from this period...some good sounding vocals there. Dylan's range? what are you going to do--if you want range, check out Celine Dion or whatever. All those compilations of other people singing Dylan are for those who can't get past the vocals, I guess. Shot of Love was the first Dylan I bought and it remains my favorite. I wore out two cassettes of that in high school when I bought it, listening to it every day.

OK, thanks! This is the place to start.

Depends on what tradition you're talking about. Doesn't he draw a lot from traditional European folk music on some of his CDs? Plus, there's a 40 + year tradition of Avant garde that he's drawing from--not to mention the 35 year tradition of Milesian fusion that probably features into Douglas' electric stuff. Stafford's drawing from a different tradition, one I happen to prefer. I'll admit I haven't heard much of Douglas's work--and some of it I like, a little-- but claims to originality seem overstated to me. I'll defer, however, to those more familiar with his work.

Lately, I've enjoyed the Mulligan Village Vanguard concert (on the Verve LPR--don't have the Mosaic yet) and the live bonus cut on Freddie Hubbard's 'Red Clay'. Here are some more favorites live recordings

OK, now I'm really confused. The only EU reissues I'm aware of are from what's called the "Warner Jazz Masters Series". I don't know if they're digipacks, but from the advertisements I've seen in Jazz Review (UK magazine), these reissues all have a vertical black spine on the front with 'Atlantic Masters' written on the spine. Are these the same ones ones reissued in Germany? I'm really interested in picking up Blue Lateef and some others, but the number of reissues of these, including Rhino, Collectables etc. is confusing.

I agree 100% with this recommendation. Stafford's outstanding. A lot of power, ideas, and swing. He's on a Don Braden CD, 'Contemporary Standards Ensemble' where these qualities are evident again. He had a CD released last year on Max Jazz that I don't have, but it received good reviews. "Neo traditionalist"?? Who isn't?

I've got my little bowl of ice cream for dessert, sitting down to check out the O board for a few minutes, and the next thing I know I'm spitting out the ice cream in laughter. Thanks Aric--you must be a good sport.

Interesting. Guess I need to pick up some Tristano to see where it all began.

Can anyone comment on the remastering quality of the Atlantic reissues released in the UK? atlantic