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Thanks. Another one for the mental list.

Is the recording with the McCoy Tyner Trio under Grossman's name or McCoy's? I've never heard of it before.

I was very happy to find this one on CD recently.

Have you inquired to see if there are any opportunities with this Digital Art publisher? http://www.ballisticpublishing.com/

Truffaz has a new recording, Face-a-Face, on Blue Note France (a 2 CD set), but it has not been released on U.S. Blue Note (and is not shown as a coming release on Blue Note's website).

I saw it listed on ebay once, but the price went rather high, as I recall.

Thanks very much. I just got back from spending the last few days in Mexico City, where I had a great time. Brought back a stack of CDs from a visit to MixUp there. Thanks.

John Zorn? Now that's ludicrous.

My order of July 28 shipped today, with only one out of stock.

There's also Eddie Henderson--see his appearances under the leadership of Billy Harper.

A couple more: Erik Truffaz--He's not a great trumpet technician, and is influenced by early electric Miles, but I've sure grown to appreciate a number of his Blue Note recordings--The Walk of the Blue Turtles, the Mask, Saloua and Mantis. Marcus Belgrave--I don't know if he has any recent recordings, but I saw him with Roy Hargrove last year, and he sounded rather good.

You said no Roy Hargrove, but just in case you have heard him only on record, not live (a big difference, in my experience), I wanted to point out that his new one, Nothing Serious, is his best recording to date that I've heard. Terrence Blanchard--I've always really liked him since hearing with Art Blakey 20 years or so ago--I recommend Jazz in Film, Bounce, and Wandering Moon. Terrell Stafford--I'm mainly only familiar with his recordings with Bobby Watson, and the last one under Watson's name, Horizon Reassembled, is a good one. Tom Harrell--Sail Away, Live at the Village Vanguard, and The Art of Rhythm. Roy Campbell--I prefer his Delmark recordings with Zane Massey, La Tierra Del Fuego, and New Kingdom. Jack Walrath--the ex-Mingus trumpeter has made quite a few fine recordings as leader of the Masters of Suspense--Journey Man, Serious Hang, Out of the Tradition, Masters of Suspense and Neohippus. Malachi Thompson--unfortunately recently deceased, but he has a number of recordings on Delmark--Blue Jazz is a very good one.

Johnny Lytle Trio (vibes, organ and drums)--Blue Vibes--Jazzland (deep groove). There's too much surface noise, but the sound on this record is amazing, an incredibly realistic vibes recording. And it's very good.

I've never really been much of a fan of the Fabulous Thunderbirds, but I did see Kim Wilson playing with Buddy Guy at Antones on a number of occasions, and he is fine harmonica player.

I have the five Don Pullen/George Adams/Dannie Richmond Horos, but I sure wish I had the Sun Ra, the Max Roach, the Gil Evans, and quite a few others.

I've come to prefer the 80's electric Miles to alot of the '70s electric Miles. There's something about how stripped down and stark his sound became. Of course, that's also the only era when I was able to see him live. I thought his performance at the Arcadia Theater (recently burned down) in the late '80s was pretty fantastic.

http://www.bassplayer.com/story.asp?sectio...storycode=15212 Retro-Rama Charles Mingus’s 1927 Ernst Heinrich Roth By Dave Pomeroy | August 2006 After writing quite a few of these columns, it occurred to me that perhaps I would be missing the boat if I didn’t write about the original bass sound, the acoustic upright. But of course, I didn’t want to write about just any upright. Having seen various incarnations of the Mingus Big Band a few times during recent trips to New York City, I was blown away by the energy and spirit of the whole group, which is run efficiently by Charles Mingus’s widow, Sue Mingus, who has kept the flame burning since his 1979 death. In particular, I was really impressed with the bass work of Boris Kozlov, who does an amazing job filling legendary shoes, while bringing plenty of his own musical personality to the group. The first time I saw the band, I noticed immediately that he was playing Mingus’s famous “Lion’s Head” bass. Later that night, it struck me that this bass would be the perfect Retro-Rama subject. Boris has “custody” of the bass, and when I was in New York recently, he was kind enough to let me spend some time with it before a Mingus Orchestra show and in between sets. Having heard its enormous sound on record so many times, I was somewhat surprised that it wasn’t ten feet tall! As a longtime Mingus fan, I can’t begin to put into words what a thrill it was to play “The Bass,” as Charles called it. There is a special aura about it, for sure, and I felt honored to be in its presence. But like all great instruments, it is meant to be played. Once I got over my awe sufficiently enough to pluck a few notes, the instrument sounded even and full, with no obvious “wolf tones” or dead spots. As you might imagine, I was very happy (and deeply moved) to play a few of my favorite Mingus licks on it, and I loved its big sound and comfortable feel. Ernst Heinrich Roth, a second-generation instrument builder whose father founded the family business in 1877, built this bass in the late 1920s in Markneukirchen, Germany. The Roth is a e-size, 41w"-scale upright with a maple neck and headstock, and an ebony fingerboard. The body has a carved spruce top and flame-maple back and sides. The G string is quite close to the fingerboard edge, which may have facilitated Mingus’s unusual technique of “over bending” the G string, pulling it over the side of the neck for a percussive, almost flamenco-like sound that you can hear on many Mingus recordings. No one seems to know exactly when Mingus acquired this bass, but in the documentary film Mingus: Charles Mingus 1968 he calls it the “Mingus Fingers” bass, referring to the tune he wrote and recorded with Lionel Hampton in 1947. He is seen playing it in numerous photos dating to that time period. The unique “Lion’s Head” carving (which has also been called the “Dragon’s Head”) is of unknown origin, but it’s definitely not original; it is easy to tell that it was carved from a typical scroll. A fan of gut strings, Mingus used Golden Spiral strings on this bass. While Boris prefers steel strings, the instrument still has a big, warm, earthy sound. A great example of Boris’s tone on this bass can be heard on the latest Mingus Big Band Orchestra & Dynasty CD, I Am Three [sunnyside, 2005]—especially on the track “Tensions,” which he also arranged. The bass has been fitted with a David Gage pickup, which sounds great onstage with the Mingus Band. David did some work on this bass in the 1970s while Mingus was still alive, and he has continued to maintain it periodically for the Mingus estate. It has been damaged and repaired many times over the years but has survived surprisingly well, all things considered. Special thanks go to Boris Kozlov, David Gage, and especially Sue Mingus for making this article possible. It is a beautiful, wondrous thing that this instrument, an icon of jazz music history, is still being played rather than collecting dust in a warehouse or sitting in a museum somewhere. Whenever the Mingus Big Band plays—whether in New York City or around the world—the spirit of Charles Mingus’s and his music is alive and well, and this bass is still making magic. Now, if it could only talk . . . . Until next time, groove on, brothers and sisters!

But he ships for only $36.14.

I quite like the duet recording with Marion Brown, Songs of Love and Regret. Are there more with Marion Brown?

Salt should only be placed on a watermelon while listening to one's treasured Kenny G recordings.

I disagree. It is actually pretty good. Larry Coryell sounds terrific throughout. It suffers by comparison to the preceding several records but it is worthy, in my opinion.

If you haven't heard them, you also need Tiajuana Moods and A Modern Jazz Symposium of Poetry and Music, which also feature Gene Shaw.

There is another thread on this topic, and the answer (indirectly from Big John Patton) is that it is Larry Young.

Saxophone Vagina is a man? How disappointing.

I received my Coltrane box yesterday--I ordered on July 15.