Big Beat Steve

Sick. Totally sick. Let the real loonies run free and wield and tote their guns and do NOTHING about them toting and actually firing their guns (or even possessing them) and all this in the name of the "land of the free" - and then this. How hypocritical can you get?? Or is this another way of living out one's own incompetence in dealing with the REAL criminals? If you cannot get to grips with street gangs, backwoodsy "white supremacy" militia gun hoarders or the like, then why not haul away 11-year olds in handcuffs instead? Must make you feel real good in your cop attire and satisifed that you#ve done a really good job in fighting the real threats to society at large. Lousy.

As for Horst Jankowski, look back further, dear discophiles, and don't get stuck in the MPS rut, if you please. His 1961 album "Gäste bei Horst Jankowski" on Metronome is fine, and his even earlier "chamber jazz" EPs on Telefunken are very nice too. Real period pieces that yet do not fall prey to the overwhelming and suffocating influence of the "Third Stream" fetichists of those times that were so beset with imparting "respectability" on jazz over here. Compared to that, all this "Black Forest" stuff really is something more for the lounge/easy listening/mood music fans. You really have to do some digging through those MPS mood music items to discover what's left of Jankowskis' jazz background.

Being the vinyl nut that I am, last week I was exceedingly pleased to find the (to me, anyway) definitve format of affordable reissues of this in a local record store (can't recall having ever seen facsimile VINYL reissues of the original LPs in a very, very long time): The early 80s reissue "Basie Reunions" in the Prestige 2-LP series (P-24109). Listening to both sets really was an experience, and one of the rare occasisons where I wondered how I had managed so long without this (thanks therefore for earlier entries in this thread that reminded me of this item!). Cannot say that I find that rusted-up Jack Washington drags down the results THAT much, and the spirit of Pres being so pervasive is little wonder IMHO, given the influence that Pres exerted on modern 50s mainstream jazz musicians and given that the session was credited to Paul Quinichette as the nominal leader.

Yes - both is "good" - the film and the music - neither outstanding, I'd say. But both together is definitely outstanding! It just works perfectly well - one of the most naturally integrated of all jazz soundtracks! Sorry to disagree. But if you listen to the music even while NOT watching the film but AFTER having it watched (no matter how long ago) the music - even on its own - works perfectly well and, considering what musical scores of movies were able to achieve back then at all, at least from a jazz angle, really is outstanding. The fact that the music does manage to bring up certain images (no matter how imprecise) makes all the diffrence.

So I figured. But still it is odd.

Might well be. The items came from a European seller. But the "Not Licensed for Radio Broadcast" imprint is rather atypical for European pressings. Usually they had the entire "Unauthorized public performance prohibited ..." or "All rights of the owner of the recorded work ..." blurb (or the like) in small print around the outer circumference.

So what do I have here, then?

Can't recall any concrete online sources but remember having read about this label somewhere out there along time ago. So the history must be documented somwhere on the web. Those 78s look like period repressings of BN 78rpm releases to me (maybe a budget line or some license for other markets?) but can't be THAT rare. I remember picking up two (swing-style) Blue Note recordings from the 40s issued on that Climax label at a fairly affordable price a couple of years ago.

Wise words, Brownie. Armstrong (and Ulrich from Germany too - and others) did a good deal to push pro cycling towards its grave, and Contador and his ilk finally did the sport in really good. If it still rears its head then only because there is so much at stake for all the sponsors, bigwigs and string pullers that they still keep milking a deadbound cow. To the disgrace of ANYTHing even remotely resembling real values in this sport (unless you call systematic cheating a real "value"). In short, nothing to be proud of, not even on the part of Armstrong.

Amazing ... Wonder what my original VG+ copy of the "Byrd In Paris" LP (the one with Byrd reading the Figaro) would really be worth now. Bought it 7 or 8 years ago in an eBay LP lot for a total of some 50 euros or so that also included an original VG+ copy of Horst Jankowski's "Gäste bei Horst Jankowski" LP on Metronome (which I re-sold for a good deal of the price of the lot as I already had a copy of that one) plus an original Dutch Philips pressing of one of Miles Davis' late 50s Columbia LPs ("Miles Ahead", I think) plus several lesser items. Seems like that buy wasn't the very worst of my vinyl "investments".

So now the French newsagents will be swamped not only with loads and loads of more or less collectible "toys for adults" (such as 1:43 model cars of classic automobiles) and other similar series but also with jazz vinyl that you are supposed to rush to your newsagent for every 2 weeks or so in order to pick up the latest release in that series? Knowing the fad that seems to exist in France for these collectible series that are being sold through "maisons de presse" it will certainly be interesting to see the mid-term outcome of THIS ... BTW, seeing that this series is being launched by Altaya, I can only hope that they will get their act together with the distributionn of this at least inside France. Altaya /IXO in recent years did a 1:43 historical model cars series of my favorite collectible car marque and even though I only wanted the occasional item from that series I had a TERRIBLY hard time getting them at the newsstands over there. Even larger cities sometimes were supplied incredibly poorly.

The guy doesn't sound very broadminded. What has he got against the 20's, 30's, and 40's? So, what, he doesn't like New Orleans jazz, swing, or bop? WTF? My reactions exactly. After having seen the topic title I was expecting a picture of a FAR larger collection anyway. And after having read his exclusion criteria I definitely felt underwhelmed. In fact this "melodic" blurb makes me think of the kind of "jazzy" MOR stuff that would have gotten played on the AFN FM easy listening programs over here where you'd regularly find artists like AHMAD JAMAL programmed in between Hugo Winterhalter and Mantovani.

Yeah, I think I see what you mean. Must have ended up something like this ... :lol: ;)

Just a comment and/or confirmation of recent shipping mishaps from the u.K. but in a different direction, i.e. from the UK to mainland Europe (Germany): Just before New Year's Eve I received confirmation about shipping of two CD orders from the U.K., one from an Amazon seller, one from the online shop of a small CD reissuer. The postmarks later confirmed they actually went to post around that time but both shippings took uncommonly long. The one from the Amazon seller arrived after about 10 to 12 days whereas the other one actually was overtaken by ANOTHER shipping from the same reissuing company postmarked on 10 January which arrived within 2 or 3 days (as it commonly is the case). But my shipping of 31 Dec. did not get here until 17 or 18 January (annoying since 2 of the CDs it contained were supposed to be birthday gifts for a friend whose birthday party had been on 14 January). Incidentally, this particular seller confirmed to me that a lot of their recent shippings had taken exceedingly long from then UK throughout Europe. In short, something clearly was amiss in a BIG way inside the not-so-Royal Mail around the turn of the year!

Hasn't this already been discussed here sometime ago? BTW, according to rumours about pressing quality this procedure has beeen practiced before: By PARAMOUNT in the 20s and by CROWN in the 50s. :lol:

IIRC some time ago he announced he'd be around much less in the future because he was anticipating being cut off from internet access for quite a lengthy time. So this may explain that ... But like you said ... hope everything is OK in his neck of the woods.

Thanks for the reminder. Not long ago I obtained a s.h. copy of the Mosaic box featuring the complete Verve recordings by Little Jazz. Time to give it a more exhaustive spin ...

In this case - yes. But it also can be used for MOUTH HARP or what the English would refer to as "Harmonica" (as in "Harmonicats"). It all depends on the context ...

That's right. Received the CD yesterday (it's an ear opener to those interested in British jazz of that era, BTW - gave it several spins last night) and the booklet dwells rather extensively on his involvement with those archives.

Don't tell me you actually OWN all these records, Brownie?

Stefan Wood's explanation no doubt answers part of the question. But there seems to be another one which I find highly improbable but as I've read it in several sellers' shipping terms on eBay there may be something behind it: Can it really be so that there actually are parts of the USA that are backwoodsy enough so that the local post offices require their customers to queue up at TWO DIFFERENT counters for domestic and abroad shipping destinations???? Quite unfathomable but then again (see above ...). Looking closer at things, maybe these very same post offices even require people to queue up at a different counter for "out-of-state" shipping destinations ... ("Out of state" ... sure ... that's a different planet altogether ...) Holy mackerel .... service sure ain't what it used to be ...

Which only goes to prove what's been said here: Ha? Is Twist & Shout a song written by Lennon & McCartney, i.e. is this one of their OWN songs Lennon sings so sublimely? So what does it prove if a singer (no matter whether he writes songs of his own) excels on a sing written by somebody else (see the statement made by GA Russell above)? Does this automatically prove that he will be just as excellent on his own material? In short, GA Russell does have a point in what he said above about singer-songwriters IMHO.

Which only goes to prove what's been said here: I have yet to be convinced Bert Berns would have done that much of a superior job on this (HIS) song. So ... ?

I haven't heard all of the Capitol Jonah's but of those I've heard IMHO "Jumpin' With Jonah" (the Capitol album that really went by that title, that is) is one of the better ones, jazz-wise. The others I've heard are OK but you got to be in the mood for them and it is easy to see why they appealed to a MOR public too. Nothing to sneer at (his records may have served as an entry door to more substantial jazz for quite a few) but in a way he simply was the trumpet's Earl Bostic of those times (though if I had to pick one I guess I'd still go for Earl Bostic ).

Never was there (before my time ...) but that description somehow sounds very much like what I remember of my visits to Dobell's on Charing Cross Road in 1975/76/77.