Big Wheel

It probably depends on what type of broadband connection you have but I could envision a scenario where it's not the server causing slowness, but something on your ISP's end. For instance, lots of rain = more people in your area staying home = more people eating up bandwidth allocated by the ISP = the series of tubes gets more congested than usual.

Any wingnut who can string together a subject and verb can get a gig at the Hoover Institution. (I'm looking at you, Christopher Hitchens.) The only thing this type of occurrence says about Stanfurd is that they are too polite to tell Herbert Hoover's ghost to go fuck itself and boot the Institution off campus.

Come to think of it, that would make a great reality show. "Runaway" - I can see it now. Take 10 kids, turn 'em loose for a couple of months (tracked by cameras, of course), and see how they fend for themselves. Great TV ensues...and we all learn a little something at the end of the day.

The best marketing trick I've seen was when Blue Note signed a talented young female singer/piano player to make a pop record which proceeded to go platinum ten times over, thus saving their reissue program and making it possible for them to crank out tons of jazz from new artists too. Oh, wait...

I think it's likely that this box is about to become a "lightning deal" in about an hour at Amazon US. The teaser reads: "Upcoming Deal A hard-swinging, hard-living empress of jazz gets the deluxe treatment." Link: http://www.amazon.com/gp/goldbox/ref=cs_top_nav_gb27

Surely I can't be the only one cynical enough to think that a couple who appeared on Wife Swap probably aren't above pulling a stunt to dominate an entire day's news coverage... Edit: especially a couple that made their kids make this.

Heads up - the big 6CD, 12-session Garner box on Telarc is now another cheapo box set deal. I haven't cracked mine open yet but I got mine from Newbury comics for $10 in-store. They are listing it online for $7 plus $3 shipping. See http://www.amazon.com/gp/offer-listing/B00...p;condition=new

I think this is a quite valid statement...Herbie worked through early Evans influence fairly quickly....truthfully, I think he got on his own road pretty quickly..the way he comped for Wayne, the voicings & harmonies & textural approaches, I don't think Bill Evans would have even thought about going there...Bill was quite happy playing finely honed "trio songs", Herbie was thinking orchestral and allowed Tony & Wayne to do the same (as was also their natural wont to a large extent). Bottom line for me, I see Evans as a hugely important voice, but not so much for what that voice spoke itself as for what it stirred in the imaginations of other voices, voices who would speak more strongly, more boldly, and more clearly defined than the voice that initially inspired them. I think this is fairly close to the mark. In terms of pure playing, the left-hand voicings Evans (and Wynton Kelly) played were a big influence on almost everyone in the next generation. Herbie took those voicings and used them as a jumping-off point. Example: that break on bar 7 of "Eye of the Hurricane" off Maiden Voyage. On the one hand, Bill Evans never would have played that chord in this context. It's a dense voicing so it's possible I didn't transcribe it right, but I think the notes are (low to high) D, G, Ab, C and then in the right hand, G, Bb, Db, Gb. There are multiple dissonant elements in this chord, but the biggest dissonances come from the Gb, G, and Ab and C, Db, and D all existing in the voicing at the same time - putting 3 adjacent semitones in the same chord like that is generally regarded as a big no-no if you want to sound "good" or "inside". The whole notion of "inside" in a way really can be thought of as having Bill Evans as a major boundary, at least as far as the piano goes. On the other hand, the left hand structure is PURE Bill Evans. That way of putting the 9th and 13th along with the 3rd and 7th in the left hand* - Evans was a huge popularizer of that style. Herbie took that sound, used it as a base, and then blew it wide open. Compositionally, there's no question about it. I mean, how can you listen to everything that came before and then everything that came after a tune like "Gloria's Step" and say that Evans wasn't influencing that approach? Edit: I forgot that GS was actually composed by LaFaro, but I think the point still holds if you consider the trio's influence as a unit. Yeah, people had been fooling around here and there with getting away from the circle of fifths in the tunes they played, but what Evans and LaFaro did really crystallized things. *I'm assuming the root of this chord is Bb, although truth be told I don't remember what the bass plays.

Kind of torn on this one. I already have the Dameron, the Hope, Tenor Madness, and Dig It and the only other ones I think are priorities for me are the Waldron and Soul Junction. Do I really need the Draper and Ammons sessions?

Lesser-known titles I think you shouldn't miss: Elmo Hope: Hope-Full Jason Lindner Big Band: Premonition Memphis Slim's All Kinds of Blues is hitting pretty heavy rotation also. Edit: one more good one is Hal Galper Live at Redux '78. The Breckers are burning on this one!

They are a mixed bag. Basically, these issues are not really a "reissue project". It's just Sony slapping a lower price on titles that are already out there, some of which have recent remasterings, some of which don't. In the case of Filles the 2008 "issue" should be exactly the same as the 2002 Deluxe Edition issue (and this holds true for all the Miles 60s quintet titles priced at this level, such as Sorcerer, as all these titles were remastered around that time). For titles which were not remastered recently, you're just going to get the same version that was out in the 90s (i.e., still the most recent version of that title). Tatum's Piano Starts Here and the recently discussed Weather Report debut album are examples of this.

Yeah, those creme based bottles can get mighty funky with age (hence the original poster's distinction of what he had in the fridge). My dad has a bottle of snake wine that was a gift while on a trip to China sometime in the early '80s. It's one of those things that tasted so awful when it new no one is sure if it's gone bad. I tried another little taste last May. I didn't think any damage was done, but now I think the slang part of my brain may have taken a hit. There's an unopened bottle of Hiram Walker Creme de Menthe in my mom's liquor cabinet that looks nothing like the modern Hiram Walker packaging. Most of the liquor in our house dates from my birth in 1982 (nobody in the immediate family was a big hard alcohol drinker but they had a big party at the house so they felt obligated to stock up). But this bottle looks way older than you'd expect something made in 1982 to be. Finally curiosity got the better of me and I started playing detective. There's a 7-digit phone number and name on the bottle and I do a Google search for it and find that that number is still in use by a liquor store by that exact name in Panama City, FL (600 miles from my parents' house). And I found another site run by this guy who collects liquor stamps used by state beverage commissions. The Florida stamp on this bottle dates back to the period 1947-49 - meaning that most likely my great-grandmother brought the bottle to my grandparents for my father's birth in 1949 in Tallahassee, and nobody drank it then either.

Jazz Loft is good, but not perfect either. They had a Pullen Select listed in stock shortly after this thread started. I placed an order for it, got a order in process notice and received the OOS e-mail two days later. Yeah, me too. Alan at the Jazzloft called me because he had gotten like 12 orders in a day for the Pullen and only had one in stock. He was unaware of what had gone down at Mosaic and apparently does all the updating of his website manually.

Thanks for the info. It only cost $5.09, so I guess this is good enough to tide me over for the time being.

I noticed that a bunch of sites are listing a "Weather Report [2009]", the 1971 debut album, and it's listed as one of those SBME budget-priced titles which are covered in another thread on this forum. So I ordered it from bn.com ...and I get what appears to be a copy of the 1992 original CD release of this title. It has the classy red border and "digitally remastered from the original analog tapes" at the top of the cover. My question is: did Sony actually remaster this album in 2009 (meaning bn.com sent me the wrong version)? Or is the "2009" just an indication that the 1992 title was repriced in 2009? Everything seems to be pointing toward the second explanation, but wanted to check before I open the shrinkwrap.

Well...weren't just about all big hits this length during this period? When a buddy of mine did a huge radio program a few years back of all the Billboard #1 hits in order, I helped out and took the air for the ones between 1963-67 or so. Since we were a poor college station we didn't have everything already queued up from a hard drive, so instead we were playing stuff from CDs and in many cases, 45s. That was easily the hardest I ever worked on the radio - with every hit clocking in under 2:30 and only two turntables, by the time the second 45 was cued up the first one was almost over and you were constantly scrambling to avoid dead air.

Apologies for being the bearer of bad news but I called them to check the availability last week. They first offered to special order it acting like it was no problem, but when I questioned whether the distributor could send it to them they checked and then said "yeah...they're out."

http://www.organissimo.org/forum/index.php...mp;#entry263559

Bummer, I just left town last night. Good to see the Globe brings in real jazz these days though.

At this point I think we have to write off all of Collector's Choice's displayed inventory as unreliable. I ordered a Pullen box from them and got a cancellation email, but it's still showing on the website. Has anyone had any luck finding this box at a reasonable price?

I might be wrong, but my hunch is that the Katanga on the Curtis Amy record actually isn't the town in Uganda but the former breakaway state in the Congo. Given the chronology of the Congo Crisis and when Amy made the album, seems like the most likely candidate.

RVG was the engineer on the Hotchkiss date, but I thought the Nippon cd edition sounded good enough (don't know who mastered the cd's). But I also don't have the original Savoy record to compare it with either. I really don't know what you are trying to get at with these "watered down" remarks. How do you EXPECT him to sound? Couldn't it be that what you hear really was Wallington's style at that particular moment, including his melodic side that may be too "easy" to listen to for some? Do you expect 50s jazz piano to be a hard, hard, hard bop attack all the way, or even Bud Powell-like (in his more disturbed moments )? Listen to his Prestige recordings and you will find that overall there is a straight line in his recordings, with some obvious variations (like with everybody else). I also find he was best served in trio settings, and horns tended to overshadow him a bit (including on the Bohemia date) but still he was his own man IMO. At any rate, among bop pianists, I'd rank George Wallington in a class of his own (along with Al Haig and Dodo Marmarosa) quite apart from the Bud Powell school. And there is AMPLE room for pianists off the Bud Powell tracks IMO. (BTW: If George Wallington isn't percussive enough for you, try some Eddie Costa for a change ). I meant only that, as recorded / served by engineers, he sounds a bit watered-down to me. Or, as you note, a bit overwhelmed by the horns. I did not mean to say I think of Wallington as a watered-down player... as I thought was clear from my earlier comments. (BTW, I am quite familiar with GW's Prestige trios, and the early BN's; less so the Savoy sides.) One of the aspects of Wallington's work that fascinates me -- and deserves greater attention, I believe -- is that he made important early contributions to the hard bop style, beyond working with young musicians who went on to be major voices in that idiom, without himself ever compromising or losing the distinctive touch and tone he could get from his instrument. Maybe it would help if I posed a general question. Could it be that certain pianists from this era simply did not "show up" on tape as well as others because the recording technology and proclivities of the time did them less favors than other pianists? And could it be that Wallington, a superb and historically significant player, was one of these pianists? (That's all.) Which pianists do you think tend to fall into each category? That might help narrow down whether it was style, engineer, label, etc. For my part I think RVG was horrible at recording/mixing piano, but most of his recordings came after the period we seem to be talking about.

Why exactly would an on hold company need to identify a genre of jazz for its 20 lame tunes it offers clients? Whoever wrote the shit could give them an answer themselves, so I'd be curious what the answer is as far as "genre of spam". It wouldn't...but it would be rather interested in having lots of random people click a link to peruse their various hold music and other cheeseball offerings. Count me skeptical as well. Even if you really did dig a lot of hold music, it's probably really difficult to find this particular domain if you'd never heard of it before.

The main draw for me here is the Bechet (who I'm still a newcomer to, having only checked out some of the BN sides from the library back in the day). Of all the material Bechet recorded, where does this rank? (10=the very best stuff he ever did, 8=probably essential, 5=as good as anything but not a standout, 1=think most of Bud Powell's 1960s material).

Here's another thing I don't understand. So, it seems like titles that get taken out of the sale don't get deleted from Oldies. Instead, if a title gets taken out of the sale they just hike the price on that title back to the regular price. My question is: how does this make any sense? I thought their rationale here is that they are selling deleted OJC stock until it is completely gone. If the stock is gone, why are they showing it as available? Is the idea just that they know that virtually none of this stuff will sell even 1 copy at the regular price, so hiking the price is as good as marking it as unavailable? If that's the case, that sounds like one hell of a dumb online storefront system they have...