Big Wheel

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...

I'm with Jim on this - not having seen the new one. After Pulp Fiction he seems to be trying to keep up with the kids. basically agreed w/ all of the above, except i have a much greater dislike of him than you guys it would seem. tarantino annoys me to no end. i suppose you have to give him some credit technically, but for me he's all style and no substance. and that can be ok sometimes but not w/ him imo. he reminds me of a little kid yelling "Look at me Ma, look at me!!! Look! Look at me Ma!!" and when Ma (ie: the audience) looks, he's either purposefully picking a booger or flippin' you the bird like it's the funniest thing ever. he's mainly a snotty, immature brat who got lucky. "Made ya look, made ya look!" somebody should slap him upside the head. and he also represents another thing that annoys the shit out of me: overly self-conscious 'irreverence.' as if irreverence for irreverance's sake without any creative underpinning or point being made is sooooo cool and hip. it's not. it's childish. "Look at me, look at me! i'm being irreverant! i said something non 'P.C.' aren't i cool? you're not the boss of me! violence, crudeness, ha ha ha. i'm so irreverent. look at me, look at me! nobody is as irreverant as me. just look at all this blood. i'm so hip." people who see his hyper violence, lack of development, and overly self-conscious lazy comedic 'irreverance' as great film-making are mistaking creative for blank. i think he gets wayyyyyy too much praise. often he's merely a skilled button-pusher. and i don't think that's a very positive, or creative, skill to use in and of itself. What he said. For masochists only: watch all 10 minutes of http://www.youtube.com/watch?v=DX8aUixCpek.

You need to convert it first. There are a lot of audio tools out there that will do this. In the past I've used one called Foobar2000: http://www.foobar2000.org/

It was an online game but the games are not exportable so I had to recreate the diagram from scratch anyway. It's pretty simple to do with the diagram generator Templejazz posted upthread and you can then save the picture file as an attachment and upload it to a post.

Here's an interesting position that appeared in a game I just played. I'm White, Black is to move. As best as I can tell Black's best move is the not very pretty 1...Qa3. Everything else is going to lose material. The actual continuation was the more natural-looking 1...Qe4? which gets crushed by 2. Bd3 Qe6 (virtually forced) 3. Re1. Edit: I guess both of us missed 2...Bh6, which appears to at least prevent immediate disaster. Although things still look pretty yucky for Black after 3. Bxe4 Bxd2 4. Bxd5. I played the Morra Gambit in this game and had always heard how this opening can put an opposing queen on the run, but never managed to pull it off until today.

They're in a higher circle though than the people whose job it is to destroy unsold CD inventory for tax reasons.

Japanese pasta. Udon noodles topped with: Homemade ponzu sauce (50/50 mixture of soy sauce and water, plus some squirts of lemon from the Meyer lemon tree out back) Chopped green onion A few drops of sesame oil A shaking of sesame seeds and some Japanese furikake seasoning on top. Probably not consumed exactly in this form by real Japanese people, but it tastes good. Going to buy some cherry tomatoes and long beans and make a green papaya salad tomorrow.

Seems unlikely. Why would Trane have then hired him for all of his records on Prestige? Did Bob Weinstock just force him to use that rhythm section?

Noticed on the DG website that they are promoting a "Sidewalk Sale" on the 15th. I had a crazy idea of getting a cheap weekend fare to Chicago and checking it out. Does anyone know any of the details (what genres are included, new, used, etc)?

Bringing up this ancient thread because it seems like the most appropriate place. Jimmy Smith was an underrated master of intros. Listening now to "Indiana" from the Small's Paradise set...that intro where he quotes Misterioso gives you almost no indication of what's about to come next, but it somehow works. Same goes for the Bach-like intro on The Champ two tracks later, with that crazy dissonance on the second-to-last chord of the intro. I always dig it when a player throws in something surreal/random like that.

Ah, aesthetic Stalinism.

Listening to it on Rhapsody right now and I'm pretty sure it's a contrafact of It Could Happen to You. Edit: D'oh, missed FFA's post above. Countdown is only a quasi-contrafact. It's Tune Up radically reharmonized with Coltrane substitutions, just like he did to "Confirmation" to make "26-2".

Yes. Yes it is. And is it Grobin or Groban? Either way, it's c-r-a-p. I was trying to figure out how you found that and then remembered we have a new thread, a mere five years after that old one, lamenting the death of jazz. WHY WON'T IT JUST DIE!?!?!? Funny stuff. I still like the idea of Jimmy's Rants! I actually remembered the post. I have a really weird associative kind of memory, and at the time of the original post I had never really heard of Josh Groban. Thus, since the thread was the first substantive thing I heard about him, to this day every time I hear the words "Josh Groban", my brain thinks "Josh Groban is fucking terrible." It was pretty easy to find via Google.. http://www.google.com/search?&q="...mp;oq=&aqi=

Funny, I've heard someone express these sentiments before... http://www.organissimo.org/forum/index.php...st&p=110861

The drum beat on that actually sounds almost the same as Paul Wertico's drumming on the title track to Metheny's We Live Here. Maybe not identical, but the similarities are close enough to make me wonder if they sampled it.

Especially since this board has a looooooong history of being inundated by Street Team Spam for innumerable such acts. That's close to what I was trying to say in my post (now deleted I think). I thought that Dan's response was harsh and over the top. But given the board's history I kind of understand why a person might be thinking that way.

Yeah, it's tough to tell for sure. I just got shipments 2 and 3 of my order and thought it was rather odd which ones still haven't gotten here. Art Farmer Farmer's Market Bill Evans Interplay Sessions Arturo O'Farrill Blood Lines Strangely enough, the Evans and O'Farrill are still available on Oldies.com but don't show the sale pricing anymore.