Guy Berger

I think I can recommend The Storm of War: A New History of the Second World War by Andrew Roberts. I'm about halfway through right now; a real page-turner; can't wait to see how it comes out. Bruce's snark aside, I agree with him, it's a very good book.

I find them both (Seger, Miller) to be pleasant and harmless. Scott's description seems on target to me. Though I have to emphatically disagree with him on 70s Miles, a personal fave.

Simon Sebag Montefiore, Court of the Red Tsar Manias Panics and Crashes, Charles P. Kindleberger Richard Evans's three-volume history of Nazi Germany Mark Kishlansky's history of Stuart-era Britain An interesting one I read recently (annotated edition recommended) is Edward Levefre's thinly disguised biography of Jesse Livermore, Reminscences of a Stock Operator And I am currently enjoying Ira Katznelson's Fear Itself (a history of Congressional politics during the New Deal & WW2 era)

Jorge Luis Borges - everything (but especially Ficciones)

I hate digipaks. Would rather have a jewel case for sure, though at this point I've moved all my CDs to CaseLogic books anyway.

I think that's an odd comment. Some of Jim McNeely and Marc Johnson's compositions that Getz played during the 80s were mildly adventurous too, not unlike Chick's.

It's a great one. Love this version of Chick's "Windows".

I think it's a certainty that we could find naysayers for every single jazz musician out there. Which is fine, nobody will be liked by everyone.

That's a GREAT album. No, it is not typical of the BNLA series. In my opinion the best of his BN albums. Wayne and Gary on "Message from the Nile", holy smoke.

In Ashley Kahn's A Love Supreme book, this is mentioned within the context of a Charles Lloyd comment on Coltrane's 60s music: "Once I was standing against the wall at Birdland with Andrew Hill, Richard Davis, and Roy Eldridge. Trane had been playing a solo for about 30 minutes or so. The music was so intensely beautiful, lifting me up to the highest -- words can't go there. Roy leans over to Richard and says, "I know Trane is playing, but I just can't get with him." Richard says, "Well, you know, Roy, Trane ain't waitin'." "

We are talking about a Verve album recorded in 1955.

For what it's worth, the Garrison solo that opens the officially released "Ascent" is one of my favorites by him.

What about the bonus track on "First Meditations"?

Bitches Brew, without the brains and the soul. I was trying to think of a nicer way of saying that - Electric Byrd is a fun, likable album - but I don't think the two belong in the same ballpark. They're not even the same sport.

Dizzy Reece, Charles Tolliver, Alan Shorter

Thanks for posting that, mjzee. I wish I had caught that concert. Interesting to read Hart and Cyrille's commentary in particular

Thanks Steve and Brownie! Anyone else? This is the Original Masters CD reissue from a few years ago. I'm trying to figure out whether I should get a replacement.

Hey guys, two years ago or so I got Stan Getz in Stockholm from yourmusic.com and finally started listening to it last weekend. It's a great album, but I noticed that the beginning of the track "Over the Rainbow" has some funky audio noise going on for the first 2-3 seconds. Sounds almost like tape flutter if I have my terms correct. Is this unique to my disc, specific to this reissue, or on the original recording? Thanks.

There's actually only one - Dance. On Le Voyage, Jean Francois Jenny Clark replaces Izenzon. Izenzon is magnificent on Dance, though the album as a whole is fairly restrained with one exception.

I love the stuff with Motian and Lovano, and also the album Nashville.

I remember our recent discussion about Stolen Moments in the Kenny Burrell thread and his contribution to that performance/arrangement. RIP George.

I believe this came out a year ago - anybody else heard it? Very good album with Mark Turner, Ethan Iverson, and Ben Street.

I can see why some would feel this way - and it was even more true for the 60s quartet with Jarrett. The late 80s/mid 90s albums on ECM (through Voice in the NIght) as well as Acoustic Masters are much more "equal".

Question - and maybe this is the wrong thread, but who cares - why is Bennie Maupin so lightly featured on Sextant relative to Mwandishi and Crossings? He appears on the ensembles, but aside from "Hornets" (a brief bass clarinet solo and the kazoo) he takes a backseat role.

I've listened to this a fair amount since it arrived. Very good. People who like Lloyd and Moran won't be disappointed.