montg

alldirect.com for anything other than just-released items. I like two brick/mortar shops in St. Louis (vintage vinyl and euclid records).

Thanks Brownie and Couw.

Congratulations! The fun is just beginnng

I've noticed that Universal in Europe has issued something called the 'Dizzy Gillespie Blue Star Sessions'. I've looked around a little and I'm having a hard time finding out exactly when these were recorded and who was on them. Any info. would be appreciated. Thanks

Check or M.O preferred. All used/like new: xx on hold 1. Booker Ervin: Booker 'n Brass (Pacific Jazz, 1998 remastering made in UK) xx 2. Dizzy : Afro (Verve LPR-OBI included) 3. Art Blakey: The Jazz Messengers (Columbia) Domestic only, please. international postal is too unpredictable for me I'll ship media mail upon receipt of check. Thanks, Derek

Just looked on the Verve web site. There's nothing about the Granz set listed on their release schedule through August.

I picked up the Avid box set a few months ago. I was disappointed in the remastering of the Decca big band sides--very cramped and compressed....unususal because Avid is generally pretty good.

Has anyone heard this yet? I'm kind of curious about it. I value the opinions on this board significantly more than the bought and paid for 'reviews' that seem to proliferate around major label new releases. from the blue note website: Stefon Harris is one of today’s brightest young jazz stars. Evolving from one project to the next, Stefon has gathered a new group of musicians, known as Blackout, to help document the music of today. With such personal arrangements and a mix between covers and original compositions, Stefon has produced a highly assessable record that everyone can sink their teeth into. From the Sting cover “Until” to the Latin infused original “Red-Bone, Netti-Bone” Stefon & Blackout has delivered one of the years best and highly anticipated releases of 2004. Blackout is: Stefon Harris: vibes Casey Benjamin: alto saxophone Darryl Hall: acoustic bass Terreon Gully: drums Marc Cary: Fender Rhodes, keyboards

The hype in the 80s and 90s led to recording contracts on the major labels, arguably before some of those guys were ready. WIth the state of the business the way it is today, it's unlikley that'll happen to Mr. Brown.

I'm excited to hear something from him too. The MP3s sound good and it seems as though, from the quotes above, he's got a lot of maturity. Sometimes I think the hype, like 'best in 40 years', can do more harm than good as it can bring about a backlash. To me, though, it's always a cause for rejoicing when a young player who has chops, ideas, and LOVES JAZZ, comes onto the scene. Jazz demands an aesthetic motivation that a lot of aspirants, looking for the dough and women, miss. IMO

That's the claim in today's Chicago Tribune by Howard Reich. Absolutely glowing report on this 23-year-old from Chicago (now based in New Orleans). You can check out some MP3s at his web site and judge for yourself. I've listened to a couple so far--I find the evidence inconclusive at this point, but I've got more to listen to. Mauricebrown.net

I've been thinking about treking over there this year (about a 2 hour drive). I've got two young kids, so I don't know. The price is right--everything's free.

Today I just picked up "The New Hang" by Don Braden on High Note. I like the chance element of trying new releases--I'd never heard Braden, or anyone on the CD, before. Happy to say it's good stuff. Kyle Koehler on organ was nice and groovin', Cecil Brooks was thrashing away on drums (in a good way. I like loud, even invasive, drumming). Braden sounded good too. ON the first spin tonight, he reminded me a little of Golson, though I couldn't tell you why. Anyway, another good 'un on High Note.

Thanks Sheldonm--this was a source of my frustration. Looking over the list I saw a lot of Latin stuff and blues which, for me, isn't s big draw. Ben Allsion, Eric Alexander, Don Braden, Osby, Moran, Ralph Peterson, Curtis Fuller....it'd be nice to see a little more representation of folks like these. But I realize the bills have to be paid. I looked at the St Louis festival lineup for this summer and wasn't really moved by that list either. Must be me! I will reconsider though..15.00 bucks is hard to beat.

ugh. I find that line up completely uninspiring. Am I missing something? I won't be making the 3 hour trip for that.

I'm very fond of this set. One of the first things that stood out to me was how remarkably rich and powerful Ory's tone on the bone was even though he's in his 70s on many of these recordings. The sound Ory produces is just so warm--it's a beautiful thing. A fair amount of tunes on this set are blues and standards that run about 8-10 minutes. So it's not all New Orleans polyphony, instead there's a lot of room for solo space. Generally, this is fine although there are some moments when things slow down a bit (like a bass solo here and there punctuated by a riff that consists of a quarter note at the beginning of each bar). An added bonus is the appearance of Red Allen on a couple of these CDs. Red sounds great and opportunities to hear him in 50s hi fi are not too plentiful. ALso, I agree these are extrememly unlikely to be released by Verve when the license expires. It'll be up to the European companies, who'll have to dub from lps.

Osby's new one is a live recording with Nicholas Payton. Looks as though they'll be playing some stuff from the st Louis Shoes CD (which I really like). Joan Osborne appears on one cut--can't quite place her, but isn't she the one who had a pop song about God a few years ago? osby

The folks who knock Bobby Hackett ought to compare the Teagarden Hackett sessions (Capitol) and Teagarden w/ Goldie. Although Goldie and Hackett might have some superficial commonalties (nice tone, good range) Hackett's phrasing, inventiveness, and swing are in another league.

I love Tea as much as anybody, but I have to admit this Mosaic should come with an advisory sticker: WARNING--INCLUDES DON GOLDIE. I can characterize the man's playing in one word. STIFF.

Another vote for Billy Mitchell This one opened my eyes-made me go back and listen a lot more closely to what he's doing on the Thad Jones Mosaic.

Just noticed on Alan's site that these are scheduled for release this spring (apologies if this has been posted elsewhere): --------------------------------------------------------------- NEW Various Artists - Blue Note Revisited (Blue Note) Apr 20 NEW Cannonball Adderley - Cannonball Plays Zawinal (Blue Note/Capitol Jazz) Apr 20 NEW The Jazz Crusaders - Lighthouse '68 (Blue Note/Pacific Jazz) Apr 20 NEW Thad Jones/Mel Lewis - Central Park North (Blue Note/Solid State) Apr 20 NEW Peggy Lee - Things are Swingin' (Blue Note/Capitol Jazz) Apr 20 NEW Nancy Wilson - Something Wonderful (Blue Note/Capitol Jazz) Apr 20 ----------------------------------------------------------------------------- I'm particularly excited about the Jones/Lewis release...I missed the Mosaic box. If it's anything like Consumation, it'll smoke.

I have four--I'd probably place the Patton and Bennie Green at the top, Carmell Jones next, and the Weston last. Not that the Weston is bad, but just, for me, a bit uneven. Maybe I need to go back and listen again. The Patton and Green are pure joy. Glad to hear the positive comments on the Amy. That one's next on the list.

Wynton's Magic Hour received a positive review in the Sunday Chicago Tribune by Howard Reich. And, I just noticed it's out of the gate today ranked as the 38th biggest seller on Amazon--pretty rarified air for jazz. I haven't bought this, but from a business/pr standpoint, signing Wynton is looking like a good move for Blue Note. Hey Blue Note, how about a Wynton dividend--sign Jeremy Pelt!

Very interesting. Thanks for posting these.

Does anyone know, or have educated guesses, what a Columbia Goodman would/could encompass? Small groups? Early-mid 40s big band? 50s material?