montg

Like Lon said, it's both. The thing is, Hackett is a superb trumpeter. He's very melodic and his tone is beautiful. Gary Giddins reviewed this set when it came out. giddins review

For me, the best jazz magazine by far, and the only one I subscribe to, is Richard Cook's Jazz Review (published in the UK). The reviews are intelligent and they cover the spectrum of jazz--from Bix to new releases. This month's issue had a nice feature on Brubeck's recent UK tour, a feature on Leo records, a little bit about Wynton and Blue Note and a bunch of other stuff. Plus a range of interesting reviews--the recent batch of Criss Cross releases, Warne Marsh, Yerba Buena Stompers etc... You can get a single issue to sample it for about 6 or 7 bucks I think. E-mail address jazzreview@excite.com p.s.-I'm not affiliated with them in any way. I just like the magazine

I just listened to Jeremy Pelt's Insight for the first time this afternoon. WOW Technique + Ideas... Pelt kept my attention the whole time. Man, what a bright and rising star in the jazz firmament! Ralph Peterson slamming away, in time, keeps everything swinging. Nice touch with the Wurlitzer too.

I'm looking forward to the Kisor, Wycliffe Gordon, and Peterson. According to Jeremy Pelt's website, he's on the new Peterson release: jeremy pelt Just picked up One For All's "Wide Horizons" on Criss Cross---good stuff getting a lot of play in my house. And I just ordered Jeremy Pelt's Insight released this winter on Criss Cross. I have high hopes for it.

The Complete Keynotes (preferably by Mosaic since Vivendi-Verve would probably screw it up)

Rex and Cootie doing Porgy and Bess has definitely piqued my interest!

I'm tired of the industry whining about the fans ripping them off. I hope the industry implodes--it would markedly raise the cultural IQ in this country from the article: "By marketing superficial, disposable pop stars, labels persuade fans to treat music as superficial and disposable. By placing so much emphasis on hit singles that fit into the radio formats, the record industry has created a fan who has no interest in albums. And the values of the people who share music illegally over P2P networks are, after all, rock-and-roll values: freedom, lack of respect for authority, and a desire for instant gratification--the same values that made so many people in the record business so rich". I can't find a link to the article. Actually, the new yorker web site is pretty much worthless. like the popular music industry. BTW, the "industry" is the big conglomerates. I have a lot of respect for the independents who are fighting the good fight (like Criss Cross and Palmetto to name just two)

Certainly a bounty of riches when it comes to Hodges and Webster. For me: Hodges-Day Dream or Blood Count (both are on the Strayhorn tribute album) Webster--Time after Time (from Webster and Associates) I don't have the Webster/Tatum, album...big hole in my collection.

My 5-year-old wants to convey her congratulations: tgfkggrggtygktktnmmmnmnmnbnbnbffgtndfbdfcbdfffrfsgjyoghhjjjhbgggdfffffffff

Thanks for the info. I'm glad the JOnes-Smith material is included ..I've been hoping Sony would get to that. I'm surprised there's pnly 38 cuts of the orchestra

Horrible news. I was just listening to his Verve sessions with OP a couple of nights ago and marveling at their pure beauty. Not unexpected, I suppose, but hard to believe he's gone.

Picked this up based on the recommendations on this board...everybody's right! This is a tremendous session, one I would have totally overlooked. It's a shame Billy Mitchell wasn't recorded more as a leader.

I think this sounds like a great idea. The Eddie Condon Mosaic sets are among my favorites. Dick Cathcart, who is on some of the Matlock recordings on the Condon Mob set, has some albums from the late 50s on Warners. Cathcart, Dick Pete Kelly Lets His Hair Down Warner Bros. (USA) WS-1217 Cathcart, Dick BIX MCMLIX Warner Bros. (USA) WS-1275 Cathcart, Dick Pete Kelly's Blues Warner Bros. (USA) WS-1303 As far as I know, these don't overlap with the Matlock albums mentioned earlier, but I'm not sure. I'd also be interested to know what else is on the label from this period.

I have a CD that I really like, "Big T Jump", that covers transcriptions made between 1944-45 by the big band. The label is Jass. Excellent remastering from Jack Towers.

Thank you for the suggestions. Rooster, I'm in central Illinois which is about as stateside as you can get. How representative are the three samples on the Mosaic website? I think I might start with Elvin!. The lineup looks really good.

I'll certainly second this. Precision, swing, and blues blasting out of the speakers.

The Real Mccoy is one of my favorite albums, due in no small part to Elvin Jones. He energizes other favorite sessions as well--Unity, ALS, Thad Jones (Mosaic)... ANd yet, I don't have anything by Elvin as a leader. Any suggestions for good places to start?

Interesting. I guess it's for real. I wonder if Mosaic's trying to clear out some shelf space--a lot of good releases are coming up. In some ways, perhaps, the deepdiscount sale takes the place of the 10% off sale Mosaic ran last year.

Apparently, no one thinks it's commercially viable to get the Lunceford masters, clean them and remaster them. So, the masters will simply decay in the vivendi-verve vaults? try saying that fast three times. Perhaps it's time for some sort of government act to restore/save historically significant American art? Maybe Smithsonian/Folkways could lease the masters from vivendi-verve, clean and release them? For the amount of money it cost to make one bomb and detonate it in the Iraqi sand, we could have the complete Decca Luncefords. Such enlightened policies fire the imagination!

Which Luncefords are we talking about? Decca or something else? The explanation that European reissues preclude reissuing the Luncefords is somewhat perplexing. Mosaic has been issuing a lot of material lately that's out of copyright--sets of Django and Bix in particular have been reissued countless times. The Keynotes would be the mother of all mosaics.

This is what I meant to say (you said it better) when I said there was a wide stereo spread. It sounds horrible to me...you've basically got the rhythm section crammed into one speaker and the soloist popping out of the other, with nothing in between. It's bizarre.

Some other jazz greats from NW Ohio--Joe Henderson's from Lima OH and WIld Bil Davison's from Defiance. I wonder if they have plaques. I pased through Defiance last summer and asked the register girl at the local Wendy's if there was any commemoration of Wild Bill in town. SHe looked at me like I was nuts. "WHo's that?"

I was referring to the new hybrid remastered by steve hoffman. Picked it up at redtrumpet a couple of weeks ago. I don't have the old one to compare it to. By "dry" I mean lifeless (if that clarifies anything). There just isn't much presence. I have a comfortable volume on my system and I don't deviate much from it--for this hybrid I have to turn up the volume much higher than I normally do to reach that comfort level..to get some presence.

I've only heard this on a CD player since I don't have an SACD player. To be honest, it sounds bad to me--extreme stereo separation and really dry. OF course, it may sound much better on SACD

This is generally true, but last year I came across an out of print Ellington Capitol Mosaic at salemusic.com. It was discounted from the original price, to make the deal even less believable. I took a chance anyway and about a week later it arrived on my porch. Maybe clandy44 will luck out--it'll be interesting to see.