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So you have a copy of the unissued session?

It is a good one, but still unmistakenly "Lacy"

Sounds like Lacy just may not be your cup of tea.

I received my discs over the weekend.

Flurin - thank you for the help, but there is no link. The info on Movies Too is what was provided by Aggie87 on this thread. I will certainly add the info on the original release in the first update, which I will probably start working on soon since I have finished the first draft of a Mark Turner discography.

Got the url? Couldn't find it on the site. It's there Jazz Discography.

Thank you everyone. I was looking forward to this birthday and it ended up being a very nice day.

I had thought about working on one myself a while ago, but I believe I did not because of an understanding that one of our board members was compiling one.

I have completely enjoyed what I have heard so far.

Here is the previous thread. Kullhammar

I am late in fulfilling my listening/commenting responsibilities and I apologize. Following are my initial impressions on the disc typed while listening to the disc on my office computer. 1. I believe that is Afro-Blue slowed down with a Latin groove. It is an infectious little groove. There was nothing about either the tenor, piano or trumpet solos that was especially remarkable, but they were effective nonetheless within the overall sound of the track. I can not identify any of the participants, but it was an enjoyable track. 2. While listening to this track I was not certain exactly how many saxophonists were playing, but I really enjoyed the relaxed maturity that they all seemed to bring to the piece. Nothing flashy or ultra advanced, but sincere. A few of the saxophonists sounded familiar, but not enough for me to attempt any identification. 3. Saxophone–guitar–bass-drums quartet. Swinging track with concise statements by the saxophone, guitar and bass. Again, nothing that on first listen makes me say “WOW”, but pleasant on its own terms. 4. Brief uptempo track with decent trumpet solo. It was over before it could make a real impression on me. 5. Other than piano, I do not have much experience listening to solo performances. This track starts off with several solo statements by sax, piano, violin, clarinet which although interesting probably require more than one cursory listen to ascertain how they fit together. The exchanges between the saxophonist and pianist that follow seem a bit more connected. Overall the track felt like something was missing. 6. Sounds like a historical recording. Not the type of thing I have had much exposure to. 7. Another track with a nice laid back groove. This time it sounds like a larger ensemble. The soprano (clarinet?) solo with support from the brass was tasty. I like the arrangement. The band sounds well rehearsed and at the same time the arrangement holds the listener’s interest. Solid track. 8. This track has a country music feel to it. That is probably a result of the violin solo that starts the track. The piano solo gives it more of a blues feel, but when the violin returns, so does the country. The violinist has an obvious command of the instrument, but this is not something I would likely be motivated to listen to again. 9. Saxophone trios always get my attention, but I was fooled by the beginning of this track. The first tenor solo sounds a little like Joe Lovano. I am not certain what the instrument is that takes the second solo. Could be a guitar with a lot of distortion. I am not feeling that sound. The bassist and drummer are playing some very interesting things in support of the soloists. I really liked the saxophonist, bassist and drummer. I think the guitarist(?) will take a few listens for me to appreciate. 10. A historical sounding track with that “chugging” swing rhythm. The tenor saxophonists sounds like some seminal artist that I should know – but I don’t. In any event, he/she is very impressive. Sounds like someone that I would enjoy listening to in more depth if I had the time. 11. I love the sound of the bass clarinet. Round Midnight. Is that Dolphy? No. Whoever it is can play. Nice sound and feeling. Great track. I want to hear more. 12. The organist got my attention within the first ten seconds. Sounds like he/she is not overly influenced by Jimmy Smith. The sound quality of this track is affecting my ability to appreciate it on first listen, but this is something I think I would enjoy listening to closer. I have no idea who any of the participants are. The saxophone and guitar solos did not say a lot to me, but the organist was very impressive. 13. I am a fan of jazz guitar, but I don’t listen to guitarists anywhere near as often as I listen to other instruments. Stuff like this requires a lot of attention in order to appreciate more than to be able to describe it as pleasant. 14. The opening reminded of Ornette and Pat Metheny’s collaboration, but obviously it is not. Surprisingly, the soprano sounds somewhat familiar. Actually as I listen closer I am pretty certain it is a clarinet. I am also pretty certain that I have heard the alto saxophonist as well. Definitely influenced by Ornette – if it is not him. Although I hear some quotes to familiar tunes, the song seems largely improvised. This one got my attention. 15. I was distracted while listening to this track. Maybe that is why I felt like it seemed to meander without really saying anything. It probably deserves a somewhat more focused listen at another time. 16. I can hear the room in this live performance. Very solid bop based alto that I can not identify. I can always find something to enjoy about this kind of music – even if it is not necessarily what I listen to every day. 17. Is the track skipping? It must be.

The following quote is credited to Larry Kart, former deputy editor-in-chief of Down Beat Magazine, in the press kit available on Schweizer's web site. "Thank you for the music. You are a very important musician for at least three reasons: because the music itself is new, intense, and fascinating, because it's being made of personal organic necessity, and because other gifted musicians obviously find it fascinating to play."

Christophe Schweizer sounds interesting. I just ordered a used copy of Physique from Amazon.

To some extent the showboating is a natural result of the fact that these players are entertainers known around the world. Many fans do come out to see a show and I think some of the players feel obligated to try to give a show when possible. I think there was probably less showboating during the games - especially the more competitive games. From the little I saw I got the impression that the US players played hard. Unfortunately, they probably played their worst defensive game in the semifinals and lost the only game they did in this tournament. With the games being more competitive, losses should be expected.

Can anyone that owns the sessions below provide me information regarding the recording date and location and release date? I am compiling a Mark Turner discography and I do not have these recordings in my collection. Thanks in advance for any help. SCCD 31527 Jam Session Vol. 4 Ingrid Jensen Mark Turner SCCD 31546 Jam Session Vol. 7 Louis Smith Mark Turner SCCD 31554 Jam Session Vol. 9 Mark Turner Don Braden SCCD 31575 Jam Session Vol. 14 Gregory Tardy Mark Turner

They only lost one game out of ten. If anything our expectations may be a little too high. I definately think that the US team probably has more talent from top to bottom than any other team in the tournament, but for a team that only started practicing together a month before the tournament, while other countries have true national teams, I don't think the US team embarrassed itself at all. It's just expectations are high. Let's face it, similar to jazz, basketball is no longer just a US game. The rest of the world has caught up. Hasn't everyone noticed the continuous rise in non-US players at the college and NBA level?

I woke up at 4:00 a.m. and have not been able to get back to sleep. I have been listening to the WKCR stream of the Redman tribute since. His voice will truly be missed.

I ordered a copy for $1.99 from half.com.

Has there ever been a musician whose music has done this?

I know this to be the opinion among the majority of enlightened connoisiuers of this and other bulletin boards, but can we really say that is true of the entire jazz community?

I have heard and enjoyed No. 4.

That would be Joshua.

I listened to this recording a few times a while back and enjoyed it a lot. I also really enjoyed Kofi's debut as a leader Plays Monk. Also check out Kofi on Byron Wallen's Indigo.

Kind of a nice thing to have, but more importantly (to me), I'd like to see "Compulsion" session available on the market again, so more people can have and hear it. Exposure and availability are my priorities for some dates in particular (and in the case of Hill, every date). For instance, shortly after I bought the Larry Young Mosaic, I was TOTALLY blown away by the "Mothership" session with Lee Morgan. To say that this was a life-changing event would be going overboard, but it certainly made me stand up and look at jazz organ a completely different way, and look at Lee Morgan differently as well. I lobbied long and hard (over and over) for it's release as a Conn (back on the old BNBB - I used to mention "Mothership" every chance I got), because I believed it to be an important session (and for me, one of Lee's most important sessions, and certainly one of Larry Young's most important sessions), and I felt it was just wrong to have such great music out of print, and nearly totally inaccessible to anyone by the already converted. That's why. So its an altruistic desire to have the music available to a wider audience as opposed to some obsessive need to own every incantation of the music? I can live with that.

For those that already have the Mosaic box, why is it so important to get the repackaged CD single?