DrJ

I would agree with Shrdlu's assessment of Spaulding's flute work - quite strong. I love PATTERNS. It has a wonderfully melancholy, dark undertow (more so than just about any Bobby Hutcherson album of the period) - partly due to the recording, partly due to the songs, and especially due to Stanley Cowell's piano voicings. Everyone plays well, and the songs are truly memorable in all cases. I agree everyone played better solos at some point in their career, but this album sets a wonderful mood and sustains it, with expert pacing and as indicated by someone else above, a real democratic approach.

Couple comments in this area: 1. I try to limit my listening backlog to no more than 10 or so (the occasional large boxed set notwithstanding). Once it gets to that point, unless there's urgency (something I want going OOP), I slow down and catch up before buying more. Like many here, I keep them on a shelf for "new acquisitions" until I listen, so they don't get lost in the shuffle. 2. Like many, though, often I consider being "caught up" listening only once to a disc, which often of course is really not enough. So I'll also "flag" new CDs when I put them with the full collection by placing the discs pulled on the shelf a bit so they are easily spotted for the near future, where I listen again at least one more time and often more if something "grabs" me. 3. Up until recently, I prided myself on the fact that, with a collection of over 1600 titles and 2000+ actual discs, I had NEVER accidentally bought something that I already had. However, I have been gradually assembling a full collection of all the Bluebird Fats Waller reissues from the 90's (now all OOP) and, in my reluctance to pass on one that I thought I might have been missing, I unintentionally purchased a duplicate of FRACTIOUS FINGERING. Made me extra mad because I was about 90% sure I already had it, but I was shopping away from our home, my wife wasn't home for me to call to check on it, and these sets have been hard to track down so I wanted to be sure I didn't miss out. Streak ended!

I really like this set musically. Overall, one of Turrentine's greatest performances in my view - particularly his more romantic, ballad playing, obviously. "Willow Weep For Me" is a true masterpiece. I don't too much care for the remastering job on this one, though - it's certainly not unlistenable, but it suffers from that harsh high end that Ron McMaster used to always get on his BN CDs but has mostly been able to avoid recently. For some reason, it creeps through again here. A minor quibble, though.

Agreed, clem. I'm a huge BN supporter (in spirit as well as with my pocket book) so I do expect better, really no excuse for that kind of thing going on for years and years without being addressed satisfactorily (there has been some marginal improvement in the last few years, but still way too many errors creep through).

Ok, here goes, but ONLY because I trust you guys not to make fun of me...uh, yeah, right! While I own none of her recordings nor do I ever plan to buy any, I honestly don't mind bellowing along with some of Amy Grant's tunes on "hit radio" stations in the car. You know this music (admit it), 80's hits like "Every Heartbeat" and "Baby Baby" (just the names alone tell you we're not in Cole Porter territory lyrically). Geez, why this is, I can't even BEGIN to tell you. I generally hate inane pop, I'm not a Christian and truly despise rock with religious overtones...I have never been able to figure it out, but there it is and it feels GOOD to say it in public (well, I also told my wife once, but she made me sleep on the couch for a month and after that, for the sake of our marriage, we agreed it was a topic that would never be spoken of again). Well, it could have something to do with the fact that she IS kind of hot...

I've always been floored that Harrell has been able to live with his illness and thrive artistically so CONSISTENTLY...no long absences from the scene, dry spells on record, etc. Remarkable, and I'm really bummed I missed this segment.

I wouldn't presume to say they're the greatest ballad performances ever - far too many great ones to judge there - but I never tire of hearing Dexter Gordon's rendition of "You've Changed" from DOIN' ALRIGHT (BN) or Lucky Thompson playing "The Man I Love" on MODERN JAZZ GROUP (Universal France).

Thanks for the recommendation, Jim. My copy is on the way...

BruceH, that has bugged me about Blue Note liner notes for years...has plagued their Connoisseur, RVG, Rare Groove, and "regular" reissue programs since CDs hit the market. Many threads were devoted to this on the old BN BB - for example, who could forget the infamous "Booby Hutcherson" incident? And it seems Kenny Burrell's MIDNIGHT BLUE is destined to be listed on CD reissue packaging as being recorded in 1967 for all eternity, since the mistake was present on the old 80's CD and then carried through AGAIN on the RVG edition. These are just the tip of the iceberg, though. My personal favorite was the tray card for Bob Brookmeyer's TRADITIONALISM REVISITED CD, which appeared in the short-lived West Coast Classics series. On that one, they clearly sent a draft version to the printer as "final" because there were no track times listed on the back tray card, only place markers that looked like this for all the tracks: (XX:XX)!!!! So this bugaboo is not unique at all to the RVGs. BN simply needs to spring for a decent proofreader (maybe a whole TEAM of proofreaders) in the WORST possible way. ********** Contrary to many, I do read liners. Furthermore, I prefer them to be what some might call dry - just give me the history and facts, maybe make 1 or 2 interesting musical observations but otherwise cut the pontificating and interpretation and blowing the social significance out of proportion. Blumenthal's RVG notes do provide some historical context that a neophyte would find useful - I know I would have. Unless you were born with a thorough knowledge of jazz discographies, I can't imagine how some of the info on, say, HORACE SILVER TRIO liners would not be welcome for a newbie.

I think these are very fine examples of Woody's playing, especially the last volume. However, if you want to hear live Woody of roughly the same vintage that is even better, find a vinyl copy of STEPPING STONES or have someone make you a burn...it's not hard to find in used stores, goes for 5 buck range. There's an urgency and fire on that one, and an elegance, that exceeds the admittedly excellent live CDs issued by High Note for me. The opening (title) track is what I would play for someone who asked me "What's all the fuss about this Woody Shaw character?" along with "The Moontrane" from Larry Young's UNITY and probably a couple of tracks from the Mosaic box. Come to think of it, I also prefer BEMSHA SWING (Blue Note), another live recording issued posthumously, to the High Note live discs. Like the outstanding FREE SLAVE (last out on 32 Jazz), BEMSHA teams him with percussionist Roy Brooks - a great matching - and also features Geri Allen in excellent form. For studio Woody and exposure to his arranging/larger group bag, try ROSEWOOD (Columbia). For studio Muse albums, either SOLID or LITTLE RED'S FANTASY are great, and IMAGINATION is wonderful if you want to linger on his ballad artistry. I'm also very fond of BLACKSTONE LEGACY (Contemporary), which is shows a look at his earlier style. But hell, you CANNOT go wrong with Woody, he never released an even remotely bad album. If the High Notes are enticing you, go for them - they'll probably disappear soon and by that time you'll be smitten by the Woody Shaw bug and will regret having passed on them.

I love everything Woody played on that I've heard so far. CORAL KEYS is worth picking up for sure, Woody is in fine form. STEPPING STONES - Ralphie Boy, you gotta hear that one. It's SUPERB, one of Woody's best recordings, period. My lesser know Woody kick-in: Paris Reunion Band - FOR KLOOK (Gazelle), excellent stuff.

Yes indeed - thanks for the update, sounds "temptingly" promising.

I found my used Herbie Nichols set for list price many years after it had gone OOP at the old Jazz Canadiana site (RIP). My only regret is that I passed on the OOP Mingus Candid set (why I will never be able to satisfactorily explain) they also had for list price...

Well...my I still think Blumenthal's recent liners for Mosaic have been quite good. So my theory about the RVG liners (which I also do find not very helpful to me personally) is that he is writing them for people who AREN'T already pretty much experts regarding the BN and other jazz label discographies. He spends a lot of time talking about, for example, when particular songs were recorded first or later elsewhere by another artist (recent example is in the HORACE SILVER TRIO liners where he talks about "Ecaroh"), or about different configurations of groups (as in the INDESTRUCTIBLE! liners). I think this type of info would actually be quite valuable for people just getting into the music, so they can say "hey, maybe I'll check that other session/version of the Messengers/rendition of 'Ecaroh' out" if they like what they hear on the RVG they have purchased. For this reason, I think, Blumenthal stays pretty superficial and breezy for the RVG notes. I don't think it makes sense to think that he's suddenly "lost it" as a liner writer. Again, his work on Mosaic booklets remains solid to excellent in my view.

LOL, Jazzmoose! BIG Earth, Wind, and Fire fan...in fact, even back in junior high (77-78), during my diehard Zeppelin/Yes/Eagles/etc, feathered hair youthful foolishness, when I wouldn't have been caught dead listening to most of what I perceived as "dance oriented" music, I owned THAT'S THE WAY OF THE WORLD and played it to death, particularly the rockish "Shining Star," but I followed them through all their albums and phases from that point on. EW&F I would guess served as a major bridge for MANY of us early teenaged suburban FM rockers into the world of funk and soul. These guys could PLAY and WRITE and SING and ARRANGE like nobody's business! All Music Guide has this to say about the visionary Maurice White: "White, a former session drummer for legendary Chicago-based labels OKeh Records and Chess Records (Etta James, Fontella Bass, Billy Stewart, Ramsey Lewis, Sonny Stitt's 1966 LP Soul in the Night, the Radiants, among others), aspired to form a band like no other pop music had ever known." Pretty heavy credentials for a "dance band" musician, eh?

My Nat Cole set had the "Made in Canada" stickers, so far that's the only one I have which had those.

Good idea, David. I'm not sure exactly how many discs that would end up being, but if it would fall a bit short of 3 CDs for a Select, how about adding in Pomeroy's work with Charlie Mariano on Charlie's early Imperial date (which also included Jaki Byard) from circa 1950? That's a fine session for all concerned, with Mariano very much in his early, heavily Bird-influenced bop bag.

Assuming this WAS indeed originally released on Liberty, and given Lee Morgan's popularity in particular with reissue fans...why the HELL hasn't Blue Note gotten around to reissuing this material legitimately!?!?!

Late in the game, so I'll keep it simple - this is a do not miss boxed set. Great music, variety, excellent sound quality, definitive booklet, and composed mostly of stuff that was truly rescued from obscurity (at least as far as U.S. reissue is concerned). Pricey, but worth it, particularly with the current True Blue/Mosaic deal.

Great Conns (don't know if they are "the best" but certainly ones I have really enjoyed): Grant Green - SOLID Hank Mobley - A SLICE OF THE TOP Jackie McLean - DESTINATION...OUT! Bobby Hutcherson - well, any of them, but probably COMPONENTS is favorite INTRODUCING KENNY BURRELL 2-fer Tina Brooks - TRUE BLUE Freddie Hubbard - READY FOR FREDDIE Wayne Shorter - ETCETERA Andrew Hill - JUDGEMENT! OK, way more than 5, but these are all "must haves" in my view. There are no Conns I think are truly dogs, but probably Sonny Red's OUT OF THE BLUE is the weakest, redeemed somewhat by the added previously unreleased material (which is far better than the original album to my ears as far as Red's playing is concerned - especially his intonation). This album actually totally soured me on his playing, and as a result I never gave him a fair chance for a long time. After coming around, I have to say he's a much better player than reflected on that album - for example, check him out on Bill Hardman's Savoy date.

I agree that number of selections for the "official" part of the BF test should be no more than 8-10, as anything else would get unwieldy. Whatever else goes on the disc should be at individual discretion. I for one don't have time right now to do anything more than the minimum or to listen to more than 8-10!

Found something kind of interesting this weekend - an advance, promo copy of the Thelonious Monk COLUMBIA YEARS 3 CD boxed set. It has all the music as well as the liners, but they are on tray cards that you have to read through clear CD holding trays, only a minor annoyance. Best of all was that it cost only $14 used. Normally would not have gone for the box, but easily worth $14 to get the few odds and ends tracks not readily available elsewhere (although most are now appearing on the new Legacy reissues of his Columbia dates).

OK folks, we've heard your feedback and now I think it's time to solidify a plan for how the Organissimo blindfold test might work. 1. First off, in Dan's poll, it seemed clear people generally want these to be assembled by a single board member on their own and then disseminated, with a "theme" (or no theme) of the assembler's choosing, rather than having multiple people all send 1 or 2 tracks in. I think this makes good sense. 2. While there is some support for downloads, I think for both legal and logistical reasons CD-R is clearly the way to go for now - with the person doing the selections being the one who either covers costs or comes up with some other way to get the CD's copied/mailed (has people send money, etc). I don't want to micromanage - I think people can figure this out on their own. If anyone has the time/energy to do a download strategy in the future that is both legal and feasible for all, well then, more power to ya! 3. Since I suggested the idea, I will do the first blindfold compilation. With the new baby things are hectic, so Dan has graciously agreed to help me out with copying and distribution (I'm at least partially covering costs). I've already begun mentally selecting tracks. 4. I nominate Dan to be up for the next blindfold test as a result - and after that we'll have to come up with a line-up as has happened for AOW. 5. I am hoping to get my 10 or so selections down on a CD-R within the week, then get it to Dan for copying and distribution. I guess once he's ready he will have people confirm whether they want to be involved with this go-round (I have the old thread but we probably will need to confirm). 6. About 2 weeks after we would expect everyone to have gotten the discs (probably three weeks after mailing) we'll put up a discussion thread as has been done for AOW, for people to start posting impressions about any/all of the tracks - who they think it is, or at least key players, connections between the tracks, whether they dug it or not, etc. Consult any DOWNBEAT blindfold test if you're not sure what to comment on. All this should be in good fun - I'm asking people to NOT jump in and say things like "how in the hell could you NOT know it's such and such, you tin-eared moron!" The goal is not to guess every song/musician correctly, but to broaden horizons, look for new connections, question what may be some long-held and unrecognized biases, etc. 7. Dan, or anyone else, have I forgotten anything? Let me know pronto - and thanks for your support everyone, this should be FUN!

I could be wrong, but I could swear that Fuel just last year reissued all this music but on 2 separate CDs. If so, I would imagine it would be the same remastering - I don't have either so would have to rely on someone else to give us a review on the sound quality vs older reissues.

Big fan of Benny. In addition to the Candid, one of the nicest places to hear his gorgeous and BIG tone is on an album called THE MUSIC OF QUINCY JONES PLAYED BY BENNY BAILEY... (there's more people then listed - one of the longer album titles ever, I think) on Argo. Both his lead playing and soloing are well represented. I think this is still available as a Japanese LP-sleeve reissue, came out late last year/early this year some time.