DrJ

Well, my personal favorite in the box is WILD THINGS RUN FAST, but objectively probably the strongest album is NIGHT RIDE HOME. My guess is you'd enjoy the latter more, and in fact you might want to look for a used copy of that 1991 CD (it sounds real good and shouldn't be too hard to find). But if you're not a huge later-period Joni fan, I would STRONGLY suggest delving into the slightly earlier stuff originally released on Asylum...have you ever checked out the albums that came after HISSING (1975 actually), but well before the Geffens, particularly HEJIRA (1976) and DON JUAN'S RECKLESS DAUGHTER (1977)? For me, HEJIRA was and will always be her crowning achievement, an astonishing accomplishment from start to finish. Mitchell at her most dizzyingly romantic, creative, and clear-headed, with lyrics so good you feel like you've read a great novel by the end. Chock full of great, sympathetic bass playing by Jaco Pastorius, to boot. Start with that one - it's been reissued in a HDCD remastering within the past few years and it sounds really good. DON JUAN, the follow-up, is certainly a comedown when taken as a whole - here Joni was far less clear-headed, falling prey to over-ambition and probably a healthy dose of vanity - but the first 4 or 5 songs are great, particularly the opening salvo of "Cotton Avenue" followed by "Talk to Me," she should have stopped about midway through the original side 2 with a nice, short single LP. Again Jaco comes on strong, probably even a bigger force here because he's having to carry a greater load with slightly less compelling tunes and a fuzzier concept. Many people also love the live SHADOWS AND LIGHT but to be honest I'm not a huge fan, solid but not nearly up to the level of the studio stuff. Finally, MINGUS is fascinating and good for an occasional listen, and has more jaw-dropping Jaco, but honestly I feel like it's in the heartfelt but ultimately kind of self-indulgant category much of the time. Nice version of the ubiquitous "Goodbye Pork Pie Hat," though, and some fun stuff elsewhere. You're no doubt seeing a pattern - Joni's recordings are, a few amazing ones (BLUE, COURT AND SPARK, HISSING, and HEJIRA for sure) aside, uneven - it's just a fact of life. She hits soaring highs and a goodly number of lows. But one thing you can never say is that these albums are boring - never a dull moment, or seldom at least. And I don't know about you, but I find sometimes those types of artists are the most interesting and the ones you find yourself returning to over time.

Hmm, 24 views but no further comments - nobody has any love for Joni's wayward years?

Jim, as usual, you have hit it right on the head. I was listening in the car the other day and almost spit out my coffee on hearing just HOW close Philly comes to losing it altogether in a couple of spots (but yet, as you mention, then he reigns it back in and plays some really grin-inducing stuff). Remarkable, really, that they released the material at all - BN had certainly rejected takes for MUCH less than this, although I'm really glad they didn't can it. Maybe that's one difference between Lion and Wolff, that tolerance for the raw and spontaneous seemed NOT to be one of Lion's many strong suits. Anyway, THE FLIP is cool and I feel like I can really enjoy it for the first time now that all the reverb and muffle have been stripped away.

How about these later-period BN's as RVG's: Hutcherson - TOTAL ECLIPSE (PLEASE!), or maybe SAN FRANCISCO (the LIVE AT MONTREUX disc would be great too, but I doubt we'll see it). Heck, even CIRRUS would be good. Byrd - KOFI Elvin Jones - LIVE AT THE LIGHTHOUSE (in the fine tradition of the other live 2-fer RVG's out so far) I would also love to see an RVG of the last Lee Morgan BN session, LEE MORGAN, that one just keeps growing in my estimation. Would sound splendid. Tyner - EXPANSIONS would be a superb choice, agree! Ornette - LOVE CALL and NEW YORK IS NOW! as a 2-fer

HERE TO STAY was out in the US in the late 80's and briefly reappered as part of the Collectors' Choice series. But it is WAY overdue for another issue, superb recording...RVG, RVG, RVG...

So I guess you're not a big Jesus and Mary Chain fan, eh?

Spacey does a great Walken, but I'd give the "best imitation" nod to Jay Mohr for sure...un-freakin'-believable!

I must relisten to this one. My prior impression has been to give a significant edge to the previously unissued session, although I'm not sure I ever had analyzed why the way Jim did...it just "felt" better to me. Will go back with an open mind, though, and revisit this enjoyable date.

I missed that sketch, but sounds funny. I always loved the Walken SNL character that was the "come up to my penthouse and look at my etchings" type, in the smoking jacket with the slimey moustache and affected pronounciation of the word "champagne." Damn funny stuff.

Couple comments: Another title in that series from Japan that included the Quebec FROM HACKENSACK... title was Tommy Flanagan LONELY TOWN (actually originally released on UA, from 1959 - a program of all Leonard Bernstein compositions and a quiet gem). Many fine, fine requests have been logged already - so I'll just say my requests for Conns would be 1) "more old stuff," the 10" material on BN (ART HODES, people, ART HODES), and 2) a return of the West Coast Classics series (okay, not Conns, but close!).

You won't find me defending the lack of culture in the U.S. However, you will find me chiding people for having a grossly over-idealized, "grass is greener" view of other places/countries in the world. I haven't traveled extensively, but enough to realize that there is precious little difference between the popular cultures of the world these days. Jazz is just as scarce in, say, modern day France or Germany as it is in the U.S. In fact, I found the popular music in Europe to be truly abyssmal, in my view, far worse even than what we get here. And I had just as much trouble finding decent jazz record and CD stores when in Paris as I did in most cities in the U.S. (certainly much slimmer pickings than in NYC and the SF Bay Area). Jazz is generally perceived as "older people's music" in Europe, I found, just as it is here in the U.S. (except for a smattering of us folks who are, thankfully, out of step with the prevailing winds of musical popularity). Also, FWIW: Tyner filled a huge civic auditorium here in Sacramento just a couple years ago - well over 1000 people. Shorter and Hancock's touring groups last year filled Mondavi Hall at UC Davis - has an 1800 seat capacity, and it was full to brimming over for both shows. So jazz CAN draw. Why the smaller club dates often don't is a mystery to me - I saw Andrew Hill at Birdland in NYC a couple of years ago with literally a handful of other people, which was really depressing. But it might have a lot to do with timing, promotion, competition with myriad other events (theater, other concerts, US Open Tennis, etc) and other factors other than cultural desolation.

Thanks for the tip on these. Just ordered the Mingus from Amazon France!

I'm envious - wish I had been able to see this show! Off topic but just a bit - how do people who have heard it feel about the new Tyner/Hutch (with bass and drums in this instance) CD on Telarc, LAND OF GIANTS? I've been particularly eyeing the SACD version - I'm sure the sound quality will be spectacular, but what of the music? I know they're different birds given the presence of bass and drums on the new one, but how would it compare to their slightly earlier collaboration, MANHATTAN MOODS (which I think is superb)?

THANKS for the nice comments, Big Al! Yes, there was an announcement but it was some time ago and I miss things all the time, so I'm sure it would have easily slipped by many. Starting with July 15, his birthday, I've been floating around with my feet about 3 feet above the ground.

On sale at Tower, so I took the plunge - glad to trade in my late 80's/early 90's CD copies of WILD THINGS RUN FAST and NIGHT RIDE HOME and some grungy vinyl of DOG EAT DOG and CHALK MARK IN A RAIN STORM. Acknowledging up front this is not absolutely prime Mitchell through and through, I am amazed on revisiting the period how much of this music has held up splendidly. Even some of the 80's production touches are not distracting as much as I had figured they would be, and it seems as though the remastering and mixing was done with an eye toward toning down some of those excesses. Very warm, inviting sound. The booklet is nice too, with Joni's personal comments about how the music came to be reissued (insufferable but still oddly entertaining - I love her music, but find her public persona off-putting at best, obnoxious at worst), and some nice repros of some of her paintings, plus all the lyrics. WILD THINGS is one of my sentimental favorite albums, since I discovered it right about the time my future spouse and I started dating way back when and that led to my delving into her back-catalog to get to masterpieces like HEJIRA. It's also full of good music, with a few absolute classics ("Chinese Cafe," "Moon at the Window," and "Love" in particular). Many of the rest are fun, uncharacteristically lighthearted love songs. A little LA-studio slick in its packaging, but still a strong one, and still my fave of the 4 albums represented. DOG EAT DOG is the most uneven, but here again there is much good music. The title track, and "Fiction" have jumped out at me on first listen as worthy of a lot more attention than I'd given them in the past. What sinks some of the rest are the lyrics, some of her most strident and least creative. But again there's some humor, e.g. "Nicotine." I must admit I probably wouldn't have bought this CD as a single, but it's nice to have the best along for the ride with the other 3 albums. CHALK MARK strikes me as the one that was the real sleeper for me. I never listened to it much before, despite having the vinyl. It sounds gerat, and I wonder now why I ever overlooked it. Some gorgeous tunes, strong from start to finish. Thisprobably surpasses WILD THINGS objectively, but the strong memories associated with the earlier album still make me give it the nod. NIGHT RIDE HOME I've had since it's release on CD. It sounded pretty good even in the 1991 original CD release, but sounds stunning here, and this is a recording chock full of great song writing that defies gravity. If nothing else, it marked a most welcome return of her idiosyncratic, highly percussive acoustic guitar playing. Probably the most consistent of all these albums, and has a few more all-time classic Joni tunes ("Passion Play," "Slouching Towards Bethlehem," and "Cherokee Louise" for sure). One of the perks of having all these, of course, is getting to hear Wayne Shorter's amazing soprano contributions. His work takes already great songs like "Moon at the Window" or "Cherokee Louise" and and rockets them into the stratosphere. I've always liked that Joni is big on bass in her music too (which roots songs that could otherwise end up so ethereal they'd just drift away altogether), and Larry Klein's playing, while not quite at the exhalted level Jaco had reached with her earlier, is a joy throughout. So, as an appetizer for what I hope will eventually be a Complete Reprise recordings boxed set, this could hardly be bettered. It will probably not convert anyone who isn't already a convert, but for those of us who are, it's pure pleasure.

I posted this in Dan's thread about whether the tests have lead anyone to purchase anything, but figured I'd put it here too in case people don't participate in that discussion: The reissue of MAD ABOUT TADD is not due out until 11/15 according to the Quicksilver Records Web site: Mad About Tadd You can order it directly from them. I just advance ordered a copy, $12.98.

BTW, for others interested, the reissue of MAD ABOUT TADD is not due out until 11/15 according to the Quicksilver Records Web site: Mad About Tadd I just advance ordered a copy, $12.98.

Dan, what I meant was the stuff that I was most interested in (the Carmell Jones, and the Donaldson) was on vinyl only. I'm definitely interested in the Dameron tribute too and appreciate the tip that it's now reissued, will be picking that up for sure. BTW, didn't mean anything negative by saying that about the vinyl, it's just a fact that the stuff I liked enough to own was vinyl.

Knowing in advance that at least SOMEONE will say "yes," I still need a nudge to get me off the fence. Looks like a fine set, although I must confess that at times Afro-Cuban jazz grows wearying to my ears on prolonged listening. So, is this 2 CD set worth it to someone who enjoys the music for a change but is not a full-fledged "convert?" (PS - I have the first of his Afro-Cuban Jazz suites in the Parker Complete on Verve box and do enjoy it).

I haven't yet purchased based on a blindfold test track, but for two reasons only: time and availability. Time issue relates to having a 3 month old - I don't get out shopping nearly as much lately, although will be again next weekend. Availability is the big one - Dan, your stuff was all vinyl and not all of it particularly easy to find! But rest assured there are a couple that I'm going to track down eventually (I don't have the list here in front of me but noted a couple as must haves). Ditto with Jim R's, once he reveals the answers (let's hope some are in print on CD!).

Dude, you beat me to the wah-wah joke...so here's another: it's not that I wouldn't generally buy any Miles Davis recording, including one that featured him farting, but from what I hear his fart-chops were in very poor condition on these recordings, it was an era full of "personal problems"

This is gonna be a GREAT one, if the LIVE-EVIL stuff from the dates is any indication. Cannot wait.

Happy Birthday, Chris!

OK, as with the last 2, haven't looked at any discussion yet. Our little 3 month old is getting more and more active, so no time right now to do any additional "After" sleuthing. I'll just go with what I thought while listening. General comments: obviously a lot of South American rhythms, and a lot of guitar. The latter generally spells disaster for me in trying to figure out who it is, because although I enjoy guitar in jazz, frankly I find very few guitarists have a unique, easily identifiable sound. This was a tough series to ID, I'm not sure I got ANY of the artists although I know I got at least one of the tunes! Anyway, here goes: ****** 1. I enjoyed this tune, this is a trio that can really swing, whoever it was. I heard a prodigious technique in the piano player's work (I even thought of OP for a hot minute), yet also a definite two-fisted approach (with some segments of block chords a la Red Garland) that indicates either an older player or someone who carefully studied the older players. Best I could come up with as a guess would be Phineas Newborn, or maybe even Hampton Hawes in a mood to quote some old masters, but I'm honestly not sure. 4 stars AFTER VIEWING OTHERS POSTS: Damn, now I just looked at Harold Z's notes and maybe it WAS Guaraldi - I had considered it for a brief moment but honestly the technique this player has sounded far superior to that I've heard on most Guaraldi records...if it was Vince, this is a SUPERB example of how you can have long-standing biases shattered with blindfold tests! 2. I should know this standard's name, but I couldn't come up with it. Vibes/piano quartet, kind of subdued but nice work. This didn't sound like any vibist that I'm real familiar with - so I crossed Hutch, Jackson, Dickerson, Pike, and some others rapidly off the list. Lem Winchester with Ramsey Lewis? Nice, but nothing to write home about. 2.5 stars 3. This was one of my favorites, really nicely done and an interesting composition. I'm almost positive I pegged the trumpeter - Lee Morgan with a mute? Sure sounded like Lee with some of those slurs and half-valving effects. Then I started to wonder if the tenor would be Shorter in his early, more Coltrane-influenced phase, but I don't think so. Clifford Jordan? I don't have all Lee's Vee Jay stuff, could be from that era. Pianist was doing some truly wicked comping. Anyway, this was one of my favorites on the disc, 5 stars, I want a copy! 4. I could hazard a guess, but honestly I have no idea. It was just okay, this is the problem I have with so much jazz guitar - kind of anonymous, although hard to fault the playing from a technical standpoint. Just didn't move me. 2 stars 5. Again, really no idea. Tenor player definitely from the Pres (or Pres through Getz) school. Zoot Sims or Al Cohn was the best I could come up with. I did really enjoy this one, as with number 3 the comping was just first rate (Jim, you must have a thing for excellent comping pianists!). 3.5 stars, might even be 4 with more listening 6. Remember that last tune on Dan's disc that had such mixed reaction? The long, slow, bluesy piece? I felt it really dragged, and would use this type of piece as a contrast. This was really well done, never lost my interest and they did it with just the two pieces. I heard a lot of quotes ("Work Song," and I'm pretty sure the basic structure was built on "Ain't Necessarily So") but I have no idea who this is. Someone bluesy - Junior Mance? Ray Bryant? This was nice, I'd enjoy hearing more from the date. 4 stars 7. Not sure again, but this was clearly in the lineage of the Jim Hall/Bill Evans collaborations. It did sound an awful lot like Hall to me on guitar, but the pianist was not Evans. Sounds more recently recorded anyway - I wil have to look up some of Hall's more recent recordings to see if I can get in the ballpark. 8. I would eat my hat if this wasn't Stan Getz on tenor. If not, then to paraphrase an old Miles Davis saying, then it's someone who's been wearing Getz' dirty drawers. Once again though I have no idea which recording this is. Nice stuff, but not the type of thing I listen to much, just breezy but not a lot of depth. If it's Getz, there's a lot better Getz out there. 2.5 stars 9. This was a major stumper. Baritone, tenor, alto sax arrangement, very nicely done and again an excellent comping pianist. If I had to hazard guesses for who's playing the horns, I'd say Woods on alto, Adams on baritone, and "no clue" on tenor! Good stuff, 3.5 stars, let down only a little by the lack of space for each of the horns to really stretch out (the solos sound like they end just as they're getting started) 10. Hmmm...maybe I need to retract my guess of Jim Hall on number 7, or maybe you have him represented twice. This sure sounds like the Jim Hall sound - remember that dirty drawers comment I made earlier? It's probably not him but someone influenced by him. I enjoyed this, 3 stars 11. Piano and bass. That much I know. Beyond that, no clue whatsoever. Didn't do much for me, 2 stars 12. Really in the doldrums here as far as guessing - no idea. Didn't like this at all, 1.5 stars. AFTER READING OTHERS POSTS: Shit, if this is Eddie Harris, I'm surprised. I am a big fan, saw him live even (which for me is a big deal given when I got into jazz and where I live), love his work. This just didn't get it for me, though - so I'll know to avoid that album if it was Eddie at least! 13. AHA! Finally a tune I can name - "I Mean You" by Monk. This along with number 3 was my favorite, a really nice rendition and a truly remarkable guitar solo - several totally out of left field moments that made me grin. There's enough blues/grit in his playing to tap into the deeper Monk, but clearly this is a sophisticated bopper playing. Damn. The rhythm section also gets WAY inside this and I was grooving from start to finish. Sign me up for a copy...could this be Vic Juris (I could swear he did a Monk album)? 5 stars 14. I didn't know the tune, but there's a "Double Rainbow" lyric, so could it be that Jobim tune? Not my style again...just okay, and I found the vocalist's mannerisms distracting although clearly she has a phenomenal technique. 2.5 stars 15. Unusual front line, soprano sax and trumpet, the unisons were arresting - not used to hearing those timbres blend. Nice...VERY nice...my resepect and admiration grew with each bar. When I first heard the soprano I thought Lucky Thompson, but that doesn't feel right. Still, I can't come up with a more likely candidate - definitely not Trane, or Lacy, and yet it sounds like it was recorded in that era. Well done. 4 stars 16. I know this standard but cannot for the life of me come up with the name. I have no idea who this is...feeling kind of beat down at this point, so won't hazard a guess. It was enjoyable though, 3 stars Thanks for another outstanding blindfold disc compilation Jim, you've added at least a couple of "must find" purchases to my growing list. I eagerly await the unveiling of the answers!

Every time I see or hear the word "euphonium," I think of the excellent indie movie from the UK, BRASSED OFF. Not anything remotely jazz oriented, but a fine film and music is at the core - f you've seen it, you'll know what I mean by the euphonium reference, and if not, you should.