Shrdlu

Hank did play the baritone at times. I read in some album notes (maybe the Mosaic booklet) that he played baritone and other instruments in someone's band in the early 50s. I just heard the Mulligan/Getz album for the first time, and Stanley plays (Gerry's) baritone real well on three tracks. He sounds very convincing. I assume he occasionally played it to fill in for the regular baritone players when he was in the big bands. Gerry had one of those Conns with the big sound, from about the 30s. (The Selmers don't have as good a sound.)

Don't miss Sammy Spear and his Orchestra.

Thanks, Chuck. I saw that too, but when I looked into it, they both turned out to be U.S. releases. I'm guessing that these are one and the same. Websites like Amazon and Allmusic are not noted for their accuracy. By the way, I am used to the original LP, but have never gotten around to hearing the rest of the material. Some of the Amazon reviewers moan about the sound, but I don't recall the LP sounding bad. For me, the main attraction was "So What", with stunning solos by Miles, Hank and Wynton.

Not at all new. Amazon has two versions of this 2 CD set, 1998 and 2001, both American releases. Does anyone know which of these sounds better (if that can be decided, lol)? I wonder why they would put out a new version, so soon after the other one. Thanks in advance for comments.

O.K., lol, I'll get it out again. I am a big McFarland fan, but the rest of the album didn't really make much of an impression on me - with about three hearings.

We have an unimportant Portuguese community here.

I love my Panasonic VCR (and it loves me ). It gives an awesome picture (HD ready, big deal!) and the surround is terrific. I just love the fact that you can stop a tape and resume at the same place, unlike the stupid DVDs - it takes a few mins to track down where you were. (Not speaking as an old guy - I love cutting edge stuff if it's good. But DVDs leave me cold.)

Very interesting, for a Jobim fan! I wonder if there is a parallel with Mexico Spanish vs Spain Spanish. (As with Brasil, Mexico has a bigger population than Spain.) I much prefer the Mex Spanish accents to the ones I've heard from Spain.

A friend of mine groaned to me the other day "Girls don't like music". "I know, I know", I replied. I've never met a woman who didn't fidget and remain restless while I was playing jazz live, or playing a record. Funny thing is, my late wife had a degree in "classical" music and played the violin and piano real well. One thing she did do for me musically was to hip me to the best "classical" players and pieces. But I don't listen to "classical" much, simply because it doesn't swing, and if it don't swing, then .......

I'm a big McFarland fan and was excited when I saw that this album was finally being released. There are not a huge number of McFarland albums. As most of you will know, the main theme from the movie (a very pretty tune) was recorded by Gary on a few other albums, such as the Impulse one with Zoot. As far as this album goes, I like the track with the theme. The English harpist featured on it is wonderful, and was also used on the Zoot album (which was recorded in London, England, at about the same time). The rest of the album is strictly in the "listen once" category for me. I absolutely hate the movie - what a load of shit.

I can't really think of a "best" example with this pair. They were always so good. Perhaps some of the 1956 tracks with Miles are the most electric that I have heard. It was sad that Philly Joe was basically just a sideman once he left Miles. What a waste. At least he was used on many albums. It's also sad that he and Bob Weinstock didn't get on. I like Art Taylor's playing a lot, but I bet Trane would have used Philly Joe on most of his Prestige dates if Bob had not disliked him. Of course, he could be a hassle at a date, and he was known to pressure others into using smack.

Getting back to the original question, like everyone, I have the greatest respect for the folks at Mosaic/True Blue, but I don't really think they listen to any of my suggestions and requests, so I'm not going to bother to contact them again. I realize that there are many marketing and licensing issues and I have absolutely no experience with that. Anyway, what a fantastic job they have done over the years.

Now that's and excellent idea! Those fantastic recordings aren't discussed enough. I have pretty much all of them, and there isn't a dull moment anywhere. Some of them I only got recently. One such is the 2 LP European Concert set. That's a real treat! I got the LP of one of the very early ones, and was surprised to find that it was in stereo. I forget the title, but I think it was just called "The Modern Jazz Quartet".

You gotta hear the 24 bit RVG 78s!

As one who was around when the BN LPs first came out, I think that all this worship of them is ludicrous. Yes, they were and are great, but there are lots of other equally good LPs from the period that no-one seems to fuss over. What about the Impulses, for example? Just as good as the BNs (both done by Rudy for the most part), yet they go for about $20 on eBay. Dare I also say that although the BN LPs sound great, for me there isn't a massive difference between them and, say, the Japanese "Blue Note Works" CDs. I also really like a large number of the RVG CDs. It's mainly hype.

I know Tony Williams. He's a great guy and has done a fantastic job reissuing since the late 60s. His first reissues were 6 (or was it 7?) LPs of all the Bird on Dial. I was so excited when those came out, because prior to that time, all you could get was a fairly haphazard selection on various budget labels, with no information as to the take numbers. And you could not get all of the material. Tony befriended Ross Russell and got his help in issuing a definitive collection. By that time, all of the original masters were long lost. Tony's sources were the best Dial 78s and LPs that he could find. Ross did come up with one previously unissued take, on a badly worn acetate. I think it was a take of "Moose the Mooche". Tony's LPs had the best possible sound, and, of course, none of the reverb that some of the "pirate" LPs had. Since then, Tony has put out absolutely all of the existing Dial takes by other artists, such as Diz and Dex.

If it will help, I have never heard an OJC that I didn't like. I mean the original 16 bit ones. Avoid the German 20 bit ones - the ones I have heard have a horrible echo.

Belgium. I know where that is. It's in Yurp isn't it?

Niko has probably fully answered your questions, but if you need any more info, I will be glad to help. The online Mingus discography refers to this box set, so I think that has all the answers. I have been playing the disks on the computer with that discograpy on the desktop.

One of those Amazon sellers - you know, the ones with the lower prices. My set is second-hand.

I just picked up on this collection a few days ago. It's going to be a ball to hear it. 12 CD's! To begin with, I just went for the fantastic 1955 Cafe Bohemia set. I've always loved that session. Eddie Bert and George Barrow are wonderful soloists! And has Mal Waldron ever played better? Next was a revisit to the Massey Hall Concert, partly to compare the original tracks with the versions with Mingus's overdubbed bass lines, which were used for the LP, of course. Great to hear it all again. Dizzy screaming the Carmen lick, Max's inspired cowbell, Bird still playing fantastically, and all the rest. It's going to take a long while to hear all the other music - none of which I have ever heard.

Yes, I will. "Bags' Groove" was supposedly the first tune recorded, and on that, Monk, at Miles's request, does not accompany him. Then, supposedly later, Monk comps behind Miles on "Bemsha Swing", where Miles gets pissed off and plays a Monk lick in a testy manner. I think this strongly suggests that "Bags' Groove" was a later performance.

I remember getting the White Album and sitting through that stupid Revolution 9 thing. Nearly choked laughing at the parody on The Simpsons. The 45 version, which was totally different of course, was what my Mom calls "an awful row".

You guys still look at the BN website??

Great to browse through this thread, though there's too much to look at in one sitting. Re the plastic reed thing, my sax mentor, who was born in 1917, told me that cane reeds were either in short supply, or rationed, during WW II, and that that was why the ersatz reeds were introduced. This may be why Pres used them, though he continued to do so long after WW II. I would hate to use one, that's for sure. I'm hooked on the brown box Ricos - I never liked the supposedly superior "Royal" ones in the silver box. (I met Bud Freeman as a teenager, and was delighted to hear that he used the same as me, Rico V 2s.) A French dude who used to be on the BN board, but disappeared from the world of boards and email a long time ago, sent me some CDrs of some late 30s Basie airshots. As mentioned above, it is great to hear Pres play without the 78 time limitation.