gmonahan

Is the Armstrong set on back order? greg mo EDIT: It's not--ordered mine with the free shipping!

All the Vintage series albums were prefixed LPV. Cool series, often poor vinyl, occasional skipping problems. greg mo

"Teddy Wilson and His All-Stars," 2-LP set on Columbia, CG-31617 issued 1973. It was all recorded for Brunswick and has 5 Billie Holiday vocals and 2 by Ella among its 31 tracks. That's the material I'm talking about. I have the Lady Day set, so I don't really want to pick up all the Heps in order to get the instrumentals, but there is some fine material on those instrumentals--lots of stuff by Johnny Hodges, Chu Berry, Roy Eldridge, Buck Clayton, Harry James, and others. Sure seems like there would be enough instrumentals and non-Holiday vocals to fill a Select, but those who have the Heps could answer that better than I can. greg mo

They'll have to pry the credit card from my cold, dead hand. Oh yeah! greg mo

Hans wrote me that the Ellington set is also on hold--that they haven't even contracted for the rights yet. Sigh. But hey, if we weren't patient, we'd have all been in the looney bin long ago. 'Course, some of us are already there, but I won't name names! greg mo

I think so - and am I missing anything, having the Jazz in Paris of the Stitt/Peterson and the VEE? Don't know about the VEE, but, as Ubu knows, the three tracks are definitely not on the JIP. I have them on a 1991 cd issue of the album, catalog no. 849-396-2, personnel as listed above, though this cd lists the recording date as 10 October rather than the 11th. Seems like we've discussed this issue on the Board before! greg mo

The Duke Ellington Brunswick/Columbia set should be coming out at some point. I think they've been working on it a while. greg mo

Mosaic has promised an Ellington 30s Brunswick/Columbia box, so the material should be available before long in a deluxe form--'course, it will be just a tad bit more expensive! greg mo

That's a fine recommendation. I don't know if it's available on e-music, but "The Oscar Peterson Trio Plus One" with Clark Terry is my favorite of the Verves. And I don't think you can go wrong with "Satch and Josh," the great album OP and Basie did together for Pablo. Peterson's response to Basie's solo on "Jumpin' at the Woodside" really is delightful. greg mo

T-Bone is the source. What a man. Jean-Marie, yeah that's a nice JIP reissue. I hadn't heard those cds before. I really only know him from the interesting work he did with Barney Wilen. May have to see if there's more to find. . . . If you find something interesting by Jean-Marie, Lon, clue me in. Frankly, I ordered the cd because I'm addicted to the whole series, so I had no expectations one way or the other, but I liked it. He gets a really nice sound out of his piano, very reflective in a Bill Evans kind of way, though that may be giving both him and the cd too much credit! greg mo

I just discovered Standards In Silhouette a few months back myself. I'm in no way a Kenton fan, but this one actually moved me, something that KentonMusic rarely does. Otherwise, I've always been partial to Adventures In Jazz. And of course, the Bob Graettinger pieces, but that's a thing unto itself, really. Kenton's West Side Story album is awesome. A lot of the more adventurous 50's stuff on Capitol is pretty tremendous. Even a lot of the late 40's stuff is pretty cool, really enjoy hearing Anita O'Day and June Christy with him. I've also been very late to the game on Kenton, just really got into him last year. Some good early 70's concert recordings by him floating around also. I've always been partial to "Adventures in Blues." Some great Gene Roland arrangements on that album. And of course "Kenton in Hi-Fi" with some way cool Milt Bernhart trombone! greg mo

Absolutely. I have the Bluebird box too, though I confess I thought long and hard about selling it when I got the Mosaic. Decided to keep it for several of the reasons already outlined here. But the Mosaic is very, very fine, and there are some great sessions there. I don't think anybody has reissued the similar instrumental sessions Teddy Wilson led for Columbia (or was it Brunswick?), have they? Some fine work there. greg mo

Yeah, I think I may have felt that way when I bought the Monk Blue Note set on LP back in the late Jurassic. Now, innumerable Mosaic sets later.... Well, what the hell is money for, anyway?! greg mo

I'd put the Mobley and Teagarden at the top of the list. You definitely don't want to miss out on those. I've owned the Stitt, but was wholeheartedly unimpressed. It was the only Mosaic set I've returned under the Mosaic satisfaction guarantee. I wasn't proud about it, but $154 is a pretty good chunk of change. I love the Teagarden Roulettes. Jack stretches out on the live stuff from the Roundtable, and his groups, while not full of big names, were really very good. There are also some wonderful shorter things, including a version of "I'm Gettin' Sentimental Over You" that makes you forget Tommy Dorsey ever played it. (To be fair, Dorsey himself was in awe of Teagarden and respected his playing more, I think, than almost anyone else.) I don't know that it's a very big seller, but I think you'll enjoy that set if you get it. 'Course, I'm an old trombone player, so I might be kind of biased! greg mo Thanks, that's good to hear. Not much gets said about the Tea set...but that's what I hoped to hear -- that he finds a good groove on the live stuff. I'm not sure how much of it gets into dixieland...but with good dixieland, I feel the ensemble or collective dialogue is where it happens. The solos don't need to carry as much, it's more the intensity and sync of the band. True of most music...yes, but with a lot of jazz...it don't matter as much...just as long as Miles or Trane or Bird was lit. But with real dixieland it happens all at once, all around you. The whole issue of Dixieland is an interesting one with Teagarden. Many of the songs are the "old [often tired] favorites," and it is also true that he often repeated licks (especially when he played in the All Stars with Armstrong), but for me at least, he seemed to find some fresh things to say on the live stuff at the Roundtable, and some of the other material was different as well. I think he was enjoying something of a renaissance in his last years with Roulette and with Verve. greg mo

I'd put the Mobley and Teagarden at the top of the list. You definitely don't want to miss out on those. I've owned the Stitt, but was wholeheartedly unimpressed. It was the only Mosaic set I've returned under the Mosaic satisfaction guarantee. I wasn't proud about it, but $154 is a pretty good chunk of change. I love the Teagarden Roulettes. Jack stretches out on the live stuff from the Roundtable, and his groups, while not full of big names, were really very good. There are also some wonderful shorter things, including a version of "I'm Gettin' Sentimental Over You" that makes you forget Tommy Dorsey ever played it. (To be fair, Dorsey himself was in awe of Teagarden and respected his playing more, I think, than almost anyone else.) I don't know that it's a very big seller, but I think you'll enjoy that set if you get it. 'Course, I'm an old trombone player, so I might be kind of biased! greg mo

Picked up the above mentioned title, and this: "Jay McShann -- Blues from Kansas City" That's the one. Bird only solos on a few tracks, but the solos are amazing, and I've always liked Walter Brown's blues singing. greg mo

I think Stan's ballad playing on "Anniversary" and "Serenity" is just gorgeous. They're my two favorites, though I'm still partial to the album he did with Dizzy. Stan could really burn when he wanted to! greg mo

I think I've got just about everything that's been issued. If I were suggesting a more orderly (!) progress for Bird, I'd go with: Dial first, then Savoy, then Verve. To me the Dials are the core, barely ahead of the Savoys. Love the Verves but the others are more essential. Then I'd go back and pick up the McShann Deccas, because I think one only really appreciates those after one knows what came after--they give you a tingle up the spine. Then the live stuff--the Uptown first, I think, then others in no particular order because it's all fine. I'd do the Benedetti Mosaic last. I don't think anyone can appreciate that until s/he's heard just about everything else. It's for the real *hard-core* Bird fanatics (yeah, like me and most others reading this!). Only my opinion of course. I imagine others will rearrange the order, which is just fine. greg mo

There are still cut out bins? greg mo

I've always thought Haig would make a worthy Mosaic project--especially his later stuff, but some of the earlier material too. I suggested it once. Not that they get many suggestions.... greg mo

The French pianist Alain Jean-Marie. I like the new 2-cd Jazz in Paris thing by him. Oh yeah, and T-Bone Walker! I'd never listened to him before, incredibly enough. Way cool. greg mo

The Nat King Cole. Just didn't have that kind of bread then. and the Commodores. I *really* didn't have *that* kind of bread! greg mo

Me too! greg mo

Has the record he recorded with Sarah Vaughan for Mainstream back in the early 70s ever been issued on cd? greg mo

Big Four on Pablo has some of my favorite late-period Dizzy, especially that version of "Birks' Works." But for me, Dizzy was always at his most exciting in front of a big band. I heard him live with one once back in the mid-70s at Buddy's Place in NYC. That was incredible. Oddly, I've seldom experienced that kind of excitement on records--even the live ones. One of the few tracks that ever captured it for me was the studio version of "The Champ" now on the 2-cd Verve big band set. It has an enormous drum solo at the end which is not to my taste, but Dizzy's opening solo, flying over the band, captures him better than anything else I think I've ever heard. When Dizzy was really on, in front of a big band, there was nobody who could match him, IMHO. greg mo