Face of the Bass

Interested to hear this Dexter Bailey character! Thanks! Fixed...

I've also lowered the price on the Dexter Prestige set. Have at it, ye fine gentlemen!

Two more discs added, plus price drops on everything else.

Atlantic R&B set is gone. Still plenty of others left.

Bump again, several more box sets and CDs added.

Update with two sets added, one a Dexter Gordon and the other an Atlantic R&B Set.

The first three of this series that I have ordered arrived this past week: Jimmy Smith's A New Sound, A New Star, Jutta Hipp's At the Hickory House, and Sam Rivers's New Conception. At this point I'm more interested in getting Blue Note titles that I've never heard before rather than upgrading on the classics I already have. Tonight listening to the Hipp, I find myself really impressed and excited by both the music and the quality of the sound. Will they be doing an SHM release of the second volume?

I've never ordered anything from Japan. What's the best way to go about it?

Yeah, I know. Where do you suggest I look to get the material covered in this box? I have one or two of the old OJC releases, but that's about it.

I feel like I start too many of these threads, but I have one more. Does anybody have a line on a reasonably-priced (say, around $100) copy of the Jackie McLean box set covering mainly his 1950s Prestige sides, released I think by a European label several years ago? Thanks!

Update, it's gone.

Baraka

Just an FYI that I've got a new blog now..I've had it off and on for a while, but am trying to pick it up again. It's already in my signature, but if you missed it and want to check it out, you can do so at http://otherplanesofthere.blogspot.com Thanks.

Bump, with a big price reduction on the Little Walter. If you are interested in this, grab it because it's OOP and much less than the other available sets right now.

I just placed an order for Jimmy Smith's A New Star, A New Sound, and Jutta Hipp's At the Hickory House, neither of which I've ever heard before. Pretty excited to hear them now.

I feel like I can't respond to what you are saying honestly without breaking this board's rules about political discussion. If that's going to be the rules we have to follow, then I think discussion of his anti-Semitism should be out-of-bounds, because it necessarily raises questions about Zionism and the state of Israel that I would love to respond to in a fuller way but can't without becoming overtly political.

I'm just curious; what do you mean by his "long history of anti-semitism"? Pretty much everything I've seen in that regard relates to this one poem.

That also came from the same dubious sources as the 4,000 Israelis bit did.

Well, Jews have been on the receiving end of that sort of "analysis" for many hundreds (thousands?) of years now, usually with genocidal results. Thanks, but I do prefer to be on the lookout for these sorts of sentiments, and to judge him accordingly. Maybe others have the luxury of judging him by other criteria, but I don't think we do. Sorry, but that line of reasoning is as spurious as the line in Baraka's poem. But Baraka didn't say in the poem (or did he?) that the intelligence services of the world knew about 9/11 in advance. What he did say in the poem was that the Israelis who worked at the WTC stayed home that day (because I guess, according to Baraka, they were forewarned by their government to do so). Is there any evidence out there in the real world that a lot of Israelis worked at the WTC and didn't show up for work that day? Yes, I know it's a poem, not a news report, but it's not like that portion of the poem were some sort of lyrical effusion that only a fool would take at face value. In any case, that poem and other instances of Baraka going over the top or around the bend along these lines do not make him a figure I need to or want to despise. Rather, I think of these instances as ... I don't know, "acts" (though they're not an act) in which Baraka, being who he is, was compelled to engage at those times in order to state and further -- and again, I don't know about the term -- his ongoing political/emotional "identity." It needs to be said at this point that Baraka did not invent this concept that Israelis had stayed home on 9/11. It had appeared in the international press prior to this poem. Baraka said he got it from Ha'Aretz. Obviously that doesn't excuse the fact that he kept it in there. But I don't think it should poison his entire oeuvre. What you say about his ongoing struggle with his political "identity" hits the mark pretty well, I think, and is one of the main reasons why I find him to be such a compelling writer and figure. FWIW, I'm not convinced that Baraka was an anti-Semite, to me the evidence for that is thinner than the frequent misogyny and homophobia that showed up in his writing. (And which, in the case of his homophobia, he later regretted.)

Well, Jews have been on the receiving end of that sort of "analysis" for many hundreds (thousands?) of years now, usually with genocidal results. Thanks, but I do prefer to be on the lookout for these sorts of sentiments, and to judge him accordingly. Maybe others have the luxury of judging him by other criteria, but I don't think we do. Sorry, but that line of reasoning is as spurious as the line in Baraka's poem.

If you want to understand Baraka, read "Cuba Libre," his essay from 1960. Read his autobiography. Read his poems. Read his jazz criticism. Read Blues People. Read his letters, recently published, between himself and Ed Dorn. The man was one of the most prolific writers of the 20th century. If you want to bury him for one stupid line in a poem he wrote near the end of his career, that says more about you than it does about him. For the record, what Baraka said about this line was that he believed that the intelligence services of the world knew about 9/11 in advance. I think he's wrong and I think he was stupid to put that in his poem, but I'm not going to allow it to determine how I view his entire oeuvre. Indeed, I even think the rest of that poem is pretty good.

It's more complicated than that. The same poem also references the Jews who were murdered at Auschwitz. That line wasn't good, but if you refuse to explore his works because of it, it's your loss. This is the problem I have with him, his work is forever tainted by his descent into the vile bile of anti-semitism. As a European, with our history, we need no excuse from poets or anyone else encouraging this. For that reason I am totally turned-off from exploring the works of Baraka further. Which is probably a shame, because I see a lot of positive comments on here, but he strayed too far from the spirit of jazz and the light for my comfort. His main legacy was his capacity for making liberals very uncomfortable. "Strayed too far" is exactly why he is so important.

There is something about this that has always bothered me. You hear it a lot from people; that to understand Baraka they should read these other works, rather than anything Baraka himself wrote. In particular, I never cared for Ellison's patronizing review of Baraka's work. Baraka is far more insightful in his own writing (and letters) on Ellison and James Baldwin than Ellison ever was on him. The Hettie Jones book as well. It's certainly a compelling book in many respects, but people always bring it up as soon as Baraka's name is mentioned, as if the one-sided account of an ex-spouse should be the final word on a person.

I don't see it as "tainted." I see it as part and parcel of his legacy, along with the misogyny and homophobia of his black Nationalist period. What I admire about Baraka is that he never allowed himself to become politically correct, and wasn't afraid to be wrong. I think he was a very courageous writer.

I have started a thread in the Artists forum.