Face of the Bass

Hey everybody-- I'm looking for a copy of the OOP Lou Donaldson Mosaic set. Will pay a fair price or offer fair value in trade. Please PM me if you are interested. Thanks!

Another update...I have also reduced the cost on the Cecil Taylor set by $10.

Bump...Price reduction on the Chu Berry and the Benedetti Parker boxes.

Just thought I'd post this here. I traded this away a couple of years ago and shouldn't have. I've got a couple Mosaic box sets to offer (Chu Berry, Parker Benedetti) as well as the Cecil Taylor set on Codanza if anyone wants to make a trade, although it is somewhat difficult for me to imagine a Cecil Taylor for John Patton swap. Anyway, I'm not in any rush, but if anyone has one they'd be willing to offer, please send me a PM. Thanks!

Your descriptions are fine. I'd like to thank you for bringing these sets here before taking them to EBay, and at very reasonable prices. It's a sign of community building here at Organissimo.

PMs sent on Turrentine Mosaic and Monk Riverside Horace Parlan.

I'm offering the box set 2 Ts For A Lovely T if you want to feed the monster some more.

Hackett is gone. Ellington is still available. Remember that the prices listed include shipping to the U.S., so it's a substantial savings compared to Mosaic. And all the remaining sets are in like new condition. Thanks!

UP: Added seven box sets, including six Mosaics.

Yeah, I don't much care for the stripped-down presentation of this series. Of the ones I've gotten I do like the Steve Lacy very much, as I did not previously have that music. The other one I would have liked would have been the Bill Dixon, but I already have all but one of those discs so I'm not going to buy that set.

For anybody interested in the more "experimental" side of things, some of the Erstwhiles he has available, particularly Lidingo and A View From The Window, are quite good and a steal at those prices.

Hopefully the oppressed masses of the Earth will now invade her new castle and carry all its occupants off to the guillotine. Class warfare is good.

Thanks....looks like the online discography I linked to is probably wrong. After listening to the discs, I can't discern any difference in the bass between the different tracks, and there are certainly no Paul Chambers idiosyncracies (such as bowed solos, etc.) on display.

I've found a discographical discrepancy that I was hoping somebody could solve for me. The liner notes for Jimmy Cleveland's 1957 recording on Emarcy say that the bassist for all seven tunes on the album is Eddie Jones. However, the online discography here, at www.jazzdisco.org, indicates that there are two bassists on the album. For the December 12, 1957 session, which includes three tunes on the album, the bassist listed is Paul Chambers. For the Dec. 13th session, the listed bassist is Eddie Jones. Anybody know which is right? Thanks in advance!

Ugh. We had our heater die on us at a very inopportune moment two years ago and it set us back a few thousand dollars. Took us a while to regain our footing after that. My sympathies.

I just finished Szwed's excellent biography of Miles Davis, which I would say is not quite as good as the Sun Ra biography but still one of the best I've ever read. I'm definitely going to check out the Lomax bio now, as I'm beginning to realize that Szwed is easily my favorite music historian/biographer working today.

I'm a historian...I think that it's better to leave the record as it is.

By the way, the above post is my half-assed attempt at apologizing. I should not have called you an "asshole." That was uncalled for and I am sorry.

Actually the box set I really want this Christmas is the Vandermark Resonance set, but I'm kind of doubting anyone gets me that.

i wouldn't necessarily say that. but i would say this thread has now become officially boring and is already well into the category of jazz music forum threads that devolve into meaningless pontificating on what usually turn out to be one (or all) of the following: is marketing/money necessary to make art? is jazz black music? can white people play jazz? does wynton suck ass (and why/how)? how do you define swing (and could bill evans swing)? can/should you be able to separate an artist's personal behavior from his music/art? can pop music elements be used in jazz forms/musics? and if so, is jazz a higher artform than blah blah blah... all of these "topics of discussion" are sooooooooooooooooo played. for me personally, they're boring before they've begun. been there, done that. it's like going back to high school. vomit. Payton seems to be quite an adolescent asshole. maybe he'll grow up soon. he's also an excellent trumpet player. afaic, that's all there is here. Yes, it's much better to restrict discussion topics to the numbering system deployed by Mosaic for their limited edition box sets. That's always more enlightening and entertaining. Seriously, instead of divebombing into a thread and crapping all over the discussion, why don't people who are not interested in what is being discussed simply stop reading it? thank you, face of the bass, for pointing out an essential element i had inadvertently left out of my salient analysis of current internet forum trends in post-cold war U.S.A.: in threads like these (see my post above which facebass was kind enough to repost), you can almost always count on folks to chime in and say they think the thread has become a useless repetition of jive 'debates' that have come and gone endlessly in the past which never cast any real illumination on the 'subjects' being pontificated on. and then, like clockwork, you can count on someone to counter by asking said person to leave the thread if they don't like it. this request is as meaningless and unconstructive as the thread itself. look for my full report in an upcoming issue of Scientific American. big beat steve will be referenced for his 'smooth jazz' contribution... Well, what I found most interesting about your laundry list of boring topics inevitably beaten to death in jazz forums is that none of them described what we have been talking about in this thread. Which makes me wonder what kind of special asshole it takes to come into a thread and complain about how stupid such threads are without having made any actual contribution to the topic at hand, knowing that this will annoy people who are actually getting something out of the thread. If you come into a thread and loudly tell everyone how dumb and pointless the discussion is, expect to be challenged. you're funny. i was the first person to comment/post in this thread. way to go man. and look who's the one who feels it necessary to resort to personal attacks/name-calling when he feels "challenged." again - you're funny. I don't resort to personal attacks, I deploy them strategically. Because I'm just that brilliant and amazing a human being. Either that, or my use of ad hominems is actually a lashing out in order to mask my own sense of staggering inferiority when faced with ideas and opinions that are not in accordance with my own. Alien worldviews, and all that. It's one or the other: I'm either brilliant and amazing or incredibly insecure.

i wouldn't necessarily say that. but i would say this thread has now become officially boring and is already well into the category of jazz music forum threads that devolve into meaningless pontificating on what usually turn out to be one (or all) of the following: is marketing/money necessary to make art? is jazz black music? can white people play jazz? does wynton suck ass (and why/how)? how do you define swing (and could bill evans swing)? can/should you be able to separate an artist's personal behavior from his music/art? can pop music elements be used in jazz forms/musics? and if so, is jazz a higher artform than blah blah blah... all of these "topics of discussion" are sooooooooooooooooo played. for me personally, they're boring before they've begun. been there, done that. it's like going back to high school. vomit. Payton seems to be quite an adolescent asshole. maybe he'll grow up soon. he's also an excellent trumpet player. afaic, that's all there is here. Yes, it's much better to restrict discussion topics to the numbering system deployed by Mosaic for their limited edition box sets. That's always more enlightening and entertaining. Seriously, instead of divebombing into a thread and crapping all over the discussion, why don't people who are not interested in what is being discussed simply stop reading it? thank you, face of the bass, for pointing out an essential element i had inadvertently left out of my salient analysis of current internet forum trends in post-cold war U.S.A.: in threads like these (see my post above which facebass was kind enough to repost), you can almost always count on folks to chime in and say they think the thread has become a useless repetition of jive 'debates' that have come and gone endlessly in the past which never cast any real illumination on the 'subjects' being pontificated on. and then, like clockwork, you can count on someone to counter by asking said person to leave the thread if they don't like it. this request is as meaningless and unconstructive as the thread itself. look for my full report in an upcoming issue of Scientific American. big beat steve will be referenced for his 'smooth jazz' contribution... Well, what I found most interesting about your laundry list of boring topics inevitably beaten to death in jazz forums is that none of them described what we have been talking about in this thread. Which makes me wonder what kind of special asshole it takes to come into a thread and complain about how stupid such threads are without having made any actual contribution to the topic at hand, knowing that this will annoy people who are actually getting something out of the thread. If you come into a thread and loudly tell everyone how dumb and pointless the discussion is, expect to be challenged.

I've already been informed that I'm getting the Coleman Hawkins set, which will be exciting when it comes out next month (hopefully). It's the first Mosaic I've really been excited about in a couple of years, at least.

Thanks Tom Storer and Face Of The Bass (that's crawjo, right?) for your insightful posts. Perhaps it is because I am so immersed in a variety of cultures in Los Angeles that I don't feel as though I belong to any one of them. Or that I don't want to be of any one culture because I enjoy the variety. But ultimately I am white, and of the white American culture, so I'll have to accept its role in my own listening. It's a bit like not realizing you have an accent, because everyone around you has that accent. Or something. Yeah, crawjo. And actually I think I mostly prefer to explore the cultural depths of music because they are not identical to my own. I think I am constantly trying to escape or evade my past upbringing as a white, upper-middle class Catholic of the suburbs, since with experience I have come to realize that it is the white middle class that is consistently reactionary in its politics and values.

Well, it would be wonderful if it happened. A year ago I toyed with the idea of starting to do research on a Paul Chambers biography, but other projects got in the way and it never took off. IMO, though, the European Free Improvisation scene of the last 40 years really needs an authoritative account in English. Heffley's Northern Sun, Southern Moon is interesting in parts, although I don't agree with much of his analysis and think the book is more an intellectual exercise than a proper history of the EFI movement. I agree with this. And of course writing a book on a deceased figure is a different kind of project than writing one on a musician who is still very much active and evolving.

Evan Parker Peter Brotzmann Paul Chambers