RDK

Y'know, Ed, I always found it interesting that they used that Rouse tune for the BN Radio theme. I mean, that's about as obscure a BN "classic" as you can get. I remember asking, shortly after I joined the BN board way back when, if anyone knew what the song was or who performed it and nobody knew at the time. Ray

While I don't think I've met anyone currently on this board, I have gotten to know, trade with, and hang out with several local guys that I met through the ol' BN board (alas, I don't believe they've followed us over here). Anyone who lives in or passes through L.A. is more than welcome to drop me a line... Ray

The Lost Sessions is still easily found and is quite enjoyable. The Charlie Rouse tune alone is, as they say, worth the price of admission...

I'm curious about these "no booklet" sets. Did everything come sealed in the outer slipcase? I know there's no large book like the U.S. sets, but there should be a little CD-sized booklet with the track listings. I've had no problem with any of mine.

As usual, I've been buying too much stuff lately (thanks Germany! ) so now I have to sell a few things. I'll have some single discs to post soon, but for now here are a few box sets... Mosaic Stan Kenton - Complete Capitol 1943 to1947. MD7-163. Seven CDs with box and booklet. All mint condition (one of the two jewel cases may still be sealed; i'll have to check) $95 Mosaic Jackie McLean - Discs 2-4 ONLY w/booklet but no box. All Three individual CDs are still sealed. (I've been trying to piece this set together for two years now, and just when I almost got it finished - bam! I found a packaged set.) $65 Charlie Christian - The new Columbia box set that looks like a Gibson amp. 4 CDs - like new. $30 Shipping extra. Drop me a PM if interested or email me at ray.kolasa@unistudios.com Thanks! Ray

Hey, if you ask me, Cecil Taylor is already pretty bizarro! (Though I am digging "For Olim" quite a bit.)

For those so inclined, I see that this (as well as many others on High Note) is now available on EMusic.com.

I don't like either of the Cecil Taylors, though I keep giving them chances. I also think Out To Lunch is my least favorite Dolphy album. Ah, shit, I think my anti-AG bias is showing!

Me should point out, just to keep reputation intact, that avatar is of BIZARRO Superman.

Okay, okay, I changed it! There, you guys happy now? Thanks for the birthday wishes guys! As I've said elsewhere, yes, I'm turning 39 again. And I don't feel a day older than 38. Watching those Jewel videos keeps me feeling young and fresh. As for gifts, I already received my best one this morning when my wife sent my twin daughters (who recently turned two) in to wake me up with a "Happy birthday, daddy" greeting. Ray

When did Jewel's voice start to sound so, uh, computerized?

Wait just a gosh-darned minute there! That may just be the kind of thing that might get me back to the BN board when (or if) they return.

With a few exceptions (Kevin, Lon), you guys are hilarious. I wouldn't worry about BN breaking the bank on Wynton. They're a successful record company; they know what they are doing. I'm sure they're well aware of the "bath" that Sony took on Marsallis (if they even did) and won't pay him "too much" money for a record. Get real! Also, who the hell said that Wynton was gonna be their new Artistic Director? Why worry about what he might do to the label if that ever comes about? Pure speculation bullshit! Besides, I can't imagine he could do any worse than whoever was the Artistic Director back in the mid-70s - Wynton wouldn't be hiring no Mizells, that's for sure. And why would getting "dumped by a label" (especially a jazz label) classify someone as a "joke" anyway? Artists change labels all the time, for a variety of reasons, both willingly and unwillingly. Was Miles a "joke" when he went from Columbia to Warners? All artists have their ups and downs. Put this same Marsallis discussion in the context of the late 1960s - how many jazz artists were losing their deals at that time only to have to "compromise" by playing in more commercial styles. Were they all "jokes" as well? It's really amazing to see how many of you are so blinded by a) your rabid love of Blue Note and b ) your obvious hatred for Wynton Marsallis. You don't even want to believe that such a marriage just might work out to the benefit of both parties. I'm no great fan of Marsallis' work, but I'm real curious to hear what his new BN album sounds like. I'm optimistically hoping for the best... Ray

What, no "Strangers on a Train?" For shame! Anyway, I'd have to go with "Rear Window." There's just something about its voyeuristic motif that I find compelling. Something about the eye staring, blinking, looking directly at you as you all hide in your rooms and commit your crimes that intrigues me...

Finally something we're in agreement on!

Purple

Not trying to be negative or anything, but... These numbers all suck!!! After 6, there isn't a really good number until 31.

I voted for six, but now that i see the results I feel kind of sorry for four. (Ten is on his own since he's not quite "legit.") Will someone please vote for four and spare his feelings...

$ Ka-Ching! $

Avalon is one of the greatest make-out albums of all time!

But why was the passer-by tossed from school after getting hurt by the stool?

Yeah, those covers fit in very well with the "classic" BN designs of Reid Miles. Heck, the cover to "Solid" is as good as anything I've ever seen on a Blue Note album. It's interesting. Given the wide variety of the BN covers, there's still a vague creative style that ties them all together. Compare the BN style to a company like Concord - which has pretty lousy looking covers in my opinion and no distinctive style.

Do you remember when Kirk defeated that insane computer on Star Trek using essentially the same method...?

Mine is due largely to the fact that this was the first board i was on that allowed animated avitars. I also dig it that it creeps some people out (myself included). I'll probably be changing it soon... Ray

I couldn't get through the first disc of Blood on the Fields, but more for the operatic-styled vocals than for Marsalis' playing.