DrJ

Let me preface this by saying I own probably a little more than 1/2 of what's in the box already. So now directly to the question: is it worth grabbing this box, in this day and age (remastering now 15 years old)? I know there are still some tidbits that are unissued in other form - including three tunes from a session with Shelley Manne. I also found out there's a little snippet of piano intro from "Blue Bolivar Ba-Lues Are" that was on the initial LPs but then edited and lost from the master tapes subsequently. But is there enough of such stuff to justify the high price, given that so much of it has appeared since and much of it now in improved sound? And what did people pay for their set - what's a fair price?

I have to agree...particularly when these recordings were MADE to be released (e.g. this isn't just some fan putting it down for posterity or for a boot). What the hell do the record companies DO exactly with the money they make? Certainly they're not pouring it into decent live recording rigs...

So Henderson got a lot of recognition outside of the jazz "inner circle" in his later years...so what? That certainly does not devalue his worth as an artist in my book. And about the licks: Eric Dolphy repeated a whole lot of licks very frequently (they just happened to be oddball licks that some people have a hard time picking out as licks)...Elvin Jones can be viewed as a licks-based drummer in my book, again repeating many of his best ones frequently...Grant Green, certainly...Woody Shaw, yep (there's a little fanfare thing he does at least once on just about every recording he was on)...hell, the great Thelonious Monk wasn't afraid of repeating himself if it sounded good, including a whole bunch of pet phrases. The more you listen, the more you hear this kind of thing in jazz, and I see it as one of the LEAST heinous of the crimes a jazz musician can commit. And having a "mic" sound on an instrument, again not a big deal AT ALL to me given that there's not exactly a shortage of them...guess Henderson would just have had to make sure to avoid being booked at a gig where there was a high likelihood of a power outage. Otherwise, no problem. Far worse are these sins: to lack an identifiable tone, use generic phrasing, and fail to put heart and soul into a performance. Henderson avoided those to me. Jim is so right - the guy was simply a great player, if not a major groundbreaker or school-starter.

These are all great! Certainly love (and appreciate) both your work on MAGNIFICENT THAD JONES, guys. Remarkable!

I paid a lot more, and it was worth every penny. Don't hesitate! PS - I have A/B'd the old US STANDARDS set with Disc 2 of the JRVG and there's no comparison - Rudy done himself very proud on the Japanese edition.

My first exposure to this music was this weekend, finally located a copy at a decent price. My initial impression is - wow, very fine music indeed! Nicely remastered Van Gelder recordings really help bring the most out in the music...Watkins' sound is so well-captured here! Trane sounds superb here, and it's hard to add to the very perceptive comments about his contributions that have already been made. Harden's compositions are tasty, and I like his playing a lot...have the Curtis Fuller IMAGES mini-LP edition Jim R mentions and have been enjoying it for some time, including his contributions. I'd love to hear THE KING & I someday!

My favorite Merrills are still the ones with Dick Katz from the later 60's, A SHADE OF DIFFERENCE and the other one whose title escapes me right now. But her later recordings, including those you mention, are great. Add CLEAR OUT OF THIS WORLD as another superb one, with some Wayne Shorter contributions.

I'm late entering this discussion (as usual), but just wanted to give my heartfelt THANKS for hosting/running this outstanding board. It's truly become a kind of virtual corner bar or club, one that almost always makes room for civil disagreement and doesn't put up barriers to new members. No mean feat.

The album she did a couple years back that merged jazz with some traditional Croatian music (her heritage) and featured Steve Lacy on soprano on some cuts was sublime, so I too am looking forward to hearing the new one. Yes, she's lost more than a couple steps on her voice, but like, say, Sheila Jordan, it's not so much about the voice quality but rather the interpretation and the outrageous (if subtle and still highly musical) chances she takes, both emotionally and harmonically. She sometimes aims high and misses, and can sound mawkish as a result at times, but when she hits it, there's nobody active to touch her as a jazz vocalist IMHO except for Shirley Horn. What a musician.

Well, you've sold me. Just need to place the order.

If we're lookin' for a central spot, how about: Heck, if someone brings a generator and a REAL sturdy turntable, we could even have a vinyl party...

The Mingus GREAT CONCERT arrived a couple days back (Amazon France is amazingly fast!). I don't have the prior release to compare, but the sound quality is pretty outstanding. They did "sonic restoration" on the first two cuts, including the opening Jaki Byard piano solo (Art Tatum Fats Waller or ATFW)...apparently the microphones had been placed poorly and the sound was pretty bad. Not sure how they did it but it ends up sounding quite good. The rest of the cuts' original recording sounds superb, really, for the era. One small typographical error - the closing MEDITATIONS ON INTEGRATION is listed as being in the 2 minute range instead of 20 minute range on the inside sleeve (although the error is not present elsewhere, like on the disc). The music is OUTSTANDING. Of this European tour, I only had Volume 1 of the 2 Enjas previously, and I have to say I think this concert captures the group in finer form. The interplay between Jordan and Dolphy is nothing short of breathtaking, and Mingus is in his best and most creative driving, cajoling, threatening mode.

You are a bloody genius! I wonder if someone might be able to do an animation for this one, a favorite BN cover (and album) of mine:

Hey, that is GREAT news, thanks for sharing this with us! Was there an indication of a release date, Bluerein?

I am definitely IN again for this one. Should be in for one heck of a ride!

Well, sure, they're limited edition, but I'M not buying until I find out who remastered them...

YES - I posted in the past on this issue with Airborne Express too. First, they "lost" my box, although Mosaic kindly sent out a replacement no questions asked. Then they took forever to deliver it; one day left a note they had been there and we needed to call and have them deliver it when we were in. So we did that, only to have them NOT show up during the appointed time. Had to call AGAIN, and the guy showed up this time but LATE....so I called Mosaic and they said they would not use Airborne Express for any further deliveries to me. I thought this might be unique to Sacramento area, but apparently not...a company that needs a MAJOR overhaul, it seems.

WAY COOL, thanks so much for sharing these! Keep 'em coming!

Thanks for the correction; still not a very memorable composition.

I saw a used copy today, but since I hadn't read the discussion thread before I figured I'd wait and check it out to see if I might be interested. Nothing I've read really helps me in terms of reference points...could anyone draw some comparisions with similar music/musicians (I know it won't be "exactly the same," but something to anchor my thinking)?

It's not one of my favorite Mosaic sets, and I really like Jacquet - his tone, his approach, his superior ballad artistry, etc. So yes, there are some definite parallels with Quebec. The sound on the original Jacquet recordings was not great (even for the RCA stuff, somewhat surprising - they sound flat and dull, lacking high end and presence), and the box doesn't work any magic there. There is also quite a bit of formula jump playing, which means it's best enjoyed in small doses. Still, there is the superb material with Fats Navarro and JJ Johnson on board, and every time Jacquet plays a ballad it's worth dropping whatever you're doing and paying the utmost attention. And the jump stuff, well taken several tracks at a time it's great fun. So - I'm glad I have it, but again can't list it at the top of the Mosaic list.

Yes, my point exactly, although as usual Jim says it with a lot more flair and gets the point across better!

I have always loved LEEWAY, a great recording. To me, even on his best recordings Morgan sometimes succumbed to the "I'm going to play my hot licks for the people whether the situation demands it or not" mentality. On LEEWAY, he just seems to have abandoned that and ends up sounding far more thoughtful and restrained (in the positive sense) than usual. I like the symmetry of the album too, 2 great songs per side, with the wonderful Massey pieces bracketing two of Lee's (not his most memorable, but functional). McLean sounds wonderful as always, and I don't even find myself minding Timmons who often got on my nerves. A winner.

I haven't, but would be mighty interested. I am a huge fan of the Jang recording TWO FLOWERS ON A STEM (Soul Note), which features Murray and Jang but also James Newton, Billy Hart, Santi Debriano, and a traditional Chinese musician named Chen Liebeng playing Erhu, a stringed instrument that has a really haunting sound. One of my favorite recent jazz recordings.