JSngry

Another TuffAss title.

Up, for further inspection.

I wish I had them to miss...

Yeah, the thing about The Crusaders of that era is that no matter how slick the top got (and sometimes it got REAL slick...), the bottom remained/maintained a real, down-home, genuine, of the people and by the people groove.That shit can't be faked, although people on both sides of the "appreciation" fence can be fooled into thinking that it can. But it can't.

Understood, Mike, but I gotta ask - how common are copies of The Record Changer these days, especially ones in really good condition (as these seem to be? Or more to the point - how common is a near-complete(?) set? It's the completeness (or damn close to it) of the set that would be attractive to me, even at the Minimum Bid price. Don't know that I've ever seen even an individual issue of the magazine, much less an entire set... Then again, maybe these are chump questions (or would be if I was entertaining a purchase). If so, say so. I just castigated Franis Davis elsewhere for maying too much (ie - ANYTHING) for a bootleg, so maybe there's a better/cheaper/easier way to get the same thing. If I would be a chump for even considering this purchase (and in my dreams, I am...), say so! (I'm expecting Allen to come to my defense if you do, though... )

Escept that this bootleg isn't of a live gig, or alternate takes, or anything like that. It's an entire studio session that still might someday be legitimately issued. But that's another matter altogether, and was not a part of my original contention. But c'mon, dude, shit like this circulates for free amongst good citizens, and has been doing so for years. The real beauty of the Internet ain't in what you can buy, it's about the networks you can form. I still firmly believe in discretion in these matters, and lots of it, as well as believing even more firmly in respecting the wishes and protecting the integrity of one's sources, but, yeah - if FD paid for the unissued Sanders/Cherry Savoy session bootleg, he's a chump. More power to him for doing his part to create interest. etc. since it is truly a groovy little set, but he shouldn't have bought it. No need for that, nor for encouraging others to do the same. That's got nothing to do with his writing, or his wife, or anything else. It just goes to show that the man needs to cultivate a little deeper realtionship with the Net and the Netizens within. Then he wouldn't be so gaga about paying for shit that he could've, no should've gotten for free, and he would be truly amazed at the treasures that can be had by good citizens everywhere. And as a side note not relevant to FD whatsomever, but definitely relevant to the topic of bootlegs - you're not a good citizen if you don't buy a legit (meaning full and fair compensation for artists/artists estates) version of previously bootlegged material is issued. As the prophet Dylan said - to live outside the law, you must be honest. Now, what's this about those bootlegs from the fallow late 1960s? Are you saying that there was an active and lively jazz bootleg market in those days? I sincerely wouod like to hear more about that, because although I know about the various Boris Rose ventures, from the days when he pressed out his shop to his Alto/Sesson/Ozone/etc labels of the late 70s, jazz bootlegs of the late 60s are something I haven't heard too much, if anything about, and I'd like to, as the subject fascinates me. The first Trane bootleg I ever saw was the first live Love Supreme one, ca. 74/75 iirc, and that thing nearly caused me some ruinated drawers....

Well, there's no way in hell I could afford this colection, even at the minimum bid, but I'd like to encourage any and all who are interested in vintage music to look around at your local used book/magazine/etc emporium(s) and don't hesitate to buy older jazz magazines. Or oeruse your local library/libraries for same. Nothing quite like it, and if it ain't quite the "real deal" in terms of being there musically (it's commercial journalism, remember, so the filters are already firmly in place), it goes a long way towards creating a sense of being there in the marketplace. Nothing like reading the infamous no-star Down Beat review of the Bird Savoy side in a magazine stuffed full of "canaries" and such. That's an experience no history book or "reader" can provide.

No vote, but I do like the Hamilton group's interpretation. Kinda "West Coasty" in its vibe (in a good way), which works for the sunny, "naive" quality of both sections of the piece. Coming out of a Chico group, it kinda "rings true" in that way. It's got that virginal quality to it that works for me, and which worked for Lloyd as well, at least for a little while. My least favorite would be the hit version. Nothing wrong with it per se, but...

And Sandler continues to hint at greater things to come.

Dolores Miyako Penelope

Kenny Cox Vanessa Del Rio Wolfman Jack

Look no further than Lee Dorsey for inspiration.

Keter Betts Skeeter Davis Mothra

High or low? Truthfully, I'd think it could go for quite a bit more than that. Could...

Sounds interesting. Thanks for the tip.

Warren Smith, yeah! Good to see that he's still around and playing well. Finn definitely has great command of the post-Ayler saxophone technical bag, and plays with conviction and sincerity. I'm particularly impressed with his command of what I call "reed notes" (not sure if there's an actual technical term or not) - the notes produced almost entirely by manipularing the pressure on the reed. some people refer to them as "squeaky notes", but that's not an adequate description in my book. Finn is able to manipulate those notes precisely and lyrically, moreso than any saxophonist that I can think of off the top of my head. It's easy to get those notes, less easy to control them, and even less easy to play them lyrically, never mind as lyrically as Finn does. What I'm waiting to hear is if he's got it in him, technically or personally, to give his improvisations more harmonic movement. Right now, he tends to stay in one zone harmonically from start to finish, if not always on the same piece, within his "workouts" of a particular idea/cell/motif/whatever. On the two CIMP sides I've heard, it's not a "problem" - the passion and command that he does bring is ample reward in and of itself. But over time, I think he's going to need to open his music up some more, or else run the risk of playing the same thing over and over. Just my opinion/personal preference, and only time will tell. But so far, so good.

Sound is indeed one TuffAss title.

On the second day, god created the heavens. Always the marketing hotshot, that god!

The individual CDs are available, but not with all the alternate takes included in this box, which are for the most part very worthy.

Exactly, David, and thanks for noticing! Well, not exactly - "fool", no. I mean, if I came across it for sale and didn't know any better, I'd buy it too. But "chump", well, yeah. Truthfully, if not for an increased awareness of things Internet-ish spurred on by constant contact w/people more younger and savvier than myself (many of them right here on O-Board '05), I'd not have a clue as to what's really going on, what's out there, and how to go about getting it. I',m getting "older" (49.5 and gaining), and this whole computer/Internet is not something I came/come by naturally, if you know what I mean. This bit-torrent thing, still haven't delved into that, and don't know if I really want to, but I know people who are and who have, and if you're a nice guy and/or a good citizen, they're willing to share/trade/etc. And none of it, the actual accquisition or the exchanging of trades, costs anything more than postage. I don't know how much FD payed for his Sanders Savoy boot, but whatever it was, it was too much! Isolation and aging very often go hand-in-hand, but it doesn't have to be that way.

This should probably be moved to Discogrpahy for better focus, but is that the only listing for that performance? It hasn't been issued anywhere, legitimately or otherwise? Hmmmm....You might have something there, Gregg....

Don't get me wrong - I love the bootlegs too, and share the sentiment that they quite often provide invaluable insight and documentation not available elsewhere. It's just that today, the need to buy them has become significantly lesser than it used to be, thanks to Internet trading. As for Balliett, I enjoy him for linguistic purposes above all else, not unlike Don Menza's tenor technique.

Neither are new. But both are recent, within the last 5 or so years. I liked Chamberlain's book quite well, but this one is something altogether different. I really can't tell if I'm supposed to approach it as entirely fiction, as a work of fiction wrapped around a deeply historical construct, or just what. But being written in the first person as it is, there's an element of "immediacy" that Chamberlain's book lacks which is as probably it should be. Both would be required reading for "deep" Warne Marsh fans, I'd think.

And I'll poke your beady-ass bird eyes out with a fukkin' number two pencil. Guddam grackle.