Guy Berger

Unfortunately Tower's stuff is sufficiently overpriced that even a 15% off coupon doesn't make it cheaper than AllDirect. (At least fo rsingle CDs.) Guy

One more thought to add to Lazaro's -- listen to Miles's live recordings once Shorter joined the band (as early as September '64) and compare them to what Sam was doing on his BN albums. Guy

I'm pleased with the new Blanton/Webster reissue, though this is also the first encounter I've had with most of the music. The surface noise decreases dramatically as you make your way through the set. Guy

What about the alternate "Right Now" off Jackie Mac's album of the same name? Guy

I've been listening to this set a lot for the past week. A couple of things that stood out: "So What" (disc 5) is one of the best performances on the entire set. Miles has a great solo, and Wayne's explosive interchange with Tony Williams is one of the top 10 moments of the entire box. Herbie's solo on the second evening's "Milestones" (disc 6) is absolutely smoking! One of his best solos, IMHO.

I've had this for a while (bought it on Ebay one or two years ago). It's a great album, my second favorite of the five 60s AH albums I own. I'm not as familiar with it as I should be, but it has some of Joe Henderson's best 1963 playing. Guy

Thanks to John S. for tapping me. Recorded live at the Village Vanguard, February 24 1973. Personnel: Keith Jarrett (piano, soprano sax, percussion), Dewey Redman (tenor saxophone, musette, percussion), Charlie Haden (bass), Paul Motian (drums, percussion), Danny Johnson (percussion) I'm jumping the gun a bit here but thought I'd give people a chance to pick this up before July 25. It's available individually or (with bonus material) on the excellent Impulse Years, 1973-1974 box set. I'll save my comments on this wonderful, interesting album for next week.

Screw cities. It's all about Californian suburbia. North, south, I don't care, just give me wide roads and no tall buildings. Guy

Wasn't there a quote from Grace Slick about how "White Rabbit" was composed after heavy listening to Sketches of Spain? Guy

Yeah, that's what Hill said in an interview a while back. Lazaro, are you sure the liner notes say "Sam Rivers"? I'm not sure Rivers makes sense chronologically. Point of Departure was recorded in late March, but Rivers didn't join Miles until April. Wasn't he still in Boston until Miles called him up for the gig? Guy

I'm embarrassed to say that I only listened to this solo for the first time last night. Anyway, it sounded pretty great to me! By the way, there's that bit where Wein is trying to pull Duke off the stage... his foolishness is preserved for posterity on the record. (Though to be sympathetic, it's tough to be an event organizer!) Guy

David, I'm probably regurgitating stuff you've seen, but have you checked out the liner notes for the SR Mosaic? Michael Cuscuna includes some interesting comments from one of the rhythm section members about Sam's tenure in the band. Not sure if you've checked out Rick Lopez's website, but he quotes the following about Rivers's tenure with Miles: I think the bit about Miles approaching Dolphy is interesting. Maybe Eric's death could have been avoided... On the other hand, this pairing would probably have been a disaster. Also... I wonder whether Miles's feelings about Cecil had changed over the next few years. Chick's playing with the Lost Quintet drew a lot of inspiration from Cecil... Guy

Wasn't Una Mas Joe Henderson's recording debut? Guy

I saw Joe Lovano a great version of this with Andrew Cyrille and Dennis Irwin back in Feb. Guy

These two are favorites. So is "Una Muy Bonita". I think the Science Fiction sessions have some incredible tunes -- "Street Woman", "Happy House", "Broken Shadows", "Law Years". Guy

Do any of the insiders on this forum know what format Mosaic's annual August sale (assuming they are having one this year) will take? Last year it was x $5 coupons where x was the number of Mosaic CDs you bought; the year before that it was 10% off all sets. Guy

Too bad so many of us were there and we didn't meet up or anything. (Was one of you guys the dude getting his reunion CD autographed?) Unlike the Grimes/Ware pairing of last year, this double bill didn't really work. The two styles didn't really mesh well and it didn't seem like there were good vibes between the bands. Also, I was expecting it to end by midnight, it didn't, and I was stuck taking the 1:30 AM train back to New Haven. Anyway, I think Mike F's comments are more or less comprehensive. Hahn absolutely smoked on the 1st set's "Blues for a Highly Strung Guitar", was somewhat less impressive afterwards. They closed the first set with a brief "Dancy Dancy". Handy's playing is as impressive as on the records. The second set's "Spanish Lady" was a scorcher, and I think this is the only number where Michael White really impressed me. Terry Clarke's drumming was superb on this one. The second set, as Mike says, was much better. Despite some harsh comments I made last year, I actually think Grimes's group was not as good this time around with the exception of the superb Andrew Cyrille. Gary Bartz was a little out of place, though it was cool to hear him quoting John Coltrane's "Creation" in the 1st set. Chit-chatted a little bit with Terry Clarke, very nice guy. Talked about Yoshi's, distribution of the group's CDs. Guy p.s. I don't think I've ever seen anybody as bored onstage as Don Thompson was during the 1st set. The guy looked miserable.

From Alan Lankin's site: Any comments on the Kloss? The Byard/Davis/Dawson session looks tasty. Guy

On the other hand, I was at the David S Ware/Henry Grimes doubleheader last July and they played a lot of music. It was a great combo though Grimes's group only took off in the second set. Anyway, if anyone wants to say hello, I'm a 20-something white dude with glasses. I'll be wearing a blue polo shirt and shorts. Guy

Are you asking for tax purposes? On a serious note, I think it's interesting that CDs fall in value so much once the wrapper is removed. The wrapper is a seal of quality by the manufacturer, so maybe asymmetric information (only the owner knows how much of a beating the CD's taken, though I guess scratches are readily visible) becomes a factor. Guy

Late, What do you mean by Spaulding's cliches? I'm not especially familiar with the guy other than his playing on BN albums (he's also on a David Murray album I have), and have always liked it without paying any special attention to it. Guy

I'm listening to Op. 111's Arietta. The whole movement contains plenty of goosebump-inducing moments, but the section where the long trill stops and the music rebuilds itself from silence has to be the most goosebump-inducing of them all. I also love the quiet ending to this piece -- it's like an ending to a wonderful novel. Guy

Gary Bartz's Libra/Another Earth (1 track missing)

Handy's Quintet is playing at the Iridium this week, along with Henry Grimes's group w/Andrew Cyrille and special guests. I'm planning on going Wednesday night. (Gary Bartz will be playing with Grimes.) Anybody else planning on being there? Guy

Without a doubt!! I was listening to this last night, and had always assumed it opened with that nutty horn-and-vibes chords. For the first time I noticed that Tony opens it up with his perfect little drum roll. Guy