kh1958

Among the organissimo crew, I would expect that the music collections of virtually everyone exceeds 60gb by a large margin. I don't see the ipod as the primary home source of music, for which I retain CDs and LPs. The Ipod is instead a great portable source of music--whether you are travelling by car, foot, airplane or train. The best approach is to be very selective in transferring music to the ipod--only pick the songs on a CD that appeal to you the most. In general, only in the case of rare classics would one transfer every cut on a CD to the ipod. That way, you can have a much greater diversity of music on your ipod. The only management I want to perform is to add songs, so having the biggest player possible is the best option for me.

I am extremely happy with my imac, and the ipod works wonderfully in conjunction with an imac. I would not even consider any other product in either case.

The Nano's hard drive is too small to be worth considering. Buy the 30gb or the 60 gb, preferably the latter. I made the mistake of buying a 20 gb first. As a consequence, I bought both a 20 gb and later a 60 gb, contributing more than was really necessary to Apple's profits.

Now you are sending me off to find this one.

I forgot to mention Charlie Burnham, another really good violinist I've had the good fortune to see in person. I'm never quite sure when I have such a negative reaction if I am at fault, but given that the Vanguard is my favorite place to listen to music, I'm pretty receptive to music there.

I saw her at the Village Vanguard a couple of years ago, and I was completely bored by her performance. There was no comparison to the short list of other jazz violinists I've seen live who I enjoyed immensely--Stephane Grapelli, Mark Feldman and John Blake. I would probably pass if I had the opportunity to see her again, as she really didn't sound to me like a true jazz player. In fairness, others present did appear to be enjoying her playing.

I didn't like Charlie Hunter too much when he first started recording, but I'm come to appreciate his playing, and he sounds like he has advanced quite a bit over the years. His Groundtruther recording with Bobby Previte and Greg Osby is the recent one that I really like. As for Sherik, if that is the fellow I'm thinking of (a saxophonist who employs many electronic effects?), I was fortunate to see Bobby Previte at the 55 Bar a year or so ago, with Jamie Saft on keyboards, Sherik on electric saxophone, and a Russian guitarist whose name escapes me, and that was some wild, stunning music and completely blew me away.

A very fine recording and (if I recall correctly), Booker Ervin's last recording as a leader.

I don't know them, but I have sort of grown to like the style of Trios from Mexico and Cuba--the singing is sometimes too much for me, but the guitar playing is usually really nice.

I'm generally not too wild about the recordings of the David Murray Big Band, but I did get to see the band a couple of times at the Knitting Factory, where they were playing every Monday night for awhile--I recall James Spaulding being in the band and soloing almost as much as David Murray. Craig Harris was there also. Butch Morris was conducting. Flowers for Albert and Let the Music Take You stand out in my memory. Not the most disciplined or polished large group I've ever heard, but they did stir things up and generate some excitement. I must have been in New York on Monday nights several times in a short while, as I was going to see them a third time but ended up having to work until midnight or so, and the band stopped playing at the KF a short time thereafter.

Same here--I've recently picked up Surrealistic Pillow, Crown of Creation, After Bathing at Baxter's, Volunteers and Bless It's Pointed Little Head, after not listening to the Airplane for years (bought the LPs of all but Bathing at Baxter's when released), and (unlike some 60s rock groups I used to like), the Airplane still sound good to me. On the other hand, that other live CD at the Filmore that was released a few years back, is not a good performance.

Ten discs of some of the greatest music ever recorded. Of course it's worth it. There are a few sessions I don't care for (like the Gil Evans led vocal session, and I'm not a fan of Bird with Strings), but mostly it's great and even underrated. The JATP sessions with Bird are fantastic, the quartet and quintet sessions (you wish there were more of course) are mostly just as good as the Dial and Savoy sessions. The recordings with Machito are fantastic, the session with Dizzy and Monk incredible. It's a very diverse collection of recordings (the Latin sessions are nice also, in my opinion).

The Natives Are Restless Tonight is a good mid-1960s live CD, but $35 seems a little steep.

Another UT Law graduate here, from 1983.

My first experience with David Murray was around 1984 or 1985, when the Jack DeJohnette Special Edition played a one-night engagement at the Caravan of Dreams in Fort Worth. The same group recorded Album Album on ECM, which I strongly recommend. This was a rather exciting group (also with John Purcell and Howard Johnson). Then, a few weeks later, he returned leading his Octet, which also featured Julius Hemphill, Bakida Carroll and Craig Harris. This was another very exciting concert that I was able to hear on consecutive evenings. As far as the Octet goes, my favorite recording remains Home (Black Saint). He has a rather large discography, but some of my favorites are Special Quartet (with McCoy Tyner), Shakill's Warrior and Shakill 2 (with Don Pullen on organ), Vertical's Currency (under Kip Hanrahan's name, with vocals by Jack Bruce), the duet recording with Randy Weston (Black Saint), the duet recording with Jon Jang, Gwotet, Live at the Village Vanguard, and Creole.

If you are a fan of Mick Taylor (he of the rather scant discography), this one recently came to my attention--an instrumental album, which is mostly Mick Taylor soloing over compositions by Miyuki, on keyboards. It sometimes slips too far over into a contemporary synthesized jazz realm, but the best cuts--like Never Imagine and Over and Beyond, are very good, with Mick Taylor's guitar coming through strong and clear. Here's a link to where it can be purchased. http://www.sierrabravo.co.uk/miyuki/mickandi.php

Actually, if you alert a person bidding on a fake that the item is a fake, they will suspend you for bid tampering!

It still seems like the best major jazz label to me (perhaps faint praise). I like all of Jason Moran, Greg Osby, Eric Trufazz, and Stephan Harris. Moran's Same Mother and Osby's last trio releases were terrific, in my opinion.

After seeing Louis Hayes many times with the McCoy Tyner Trio, as well as a couple of times with the Freddie Hubbard Quartet, and most recently backing up Bobby Watson and others in a Jazz Messengers alumni group, I must say I love Louis Hayes' drumming.

Just when I thought I'd heard just about every great hard bop date on Blue Note, I stumble across this one in a Tower cutout bin--Kenny Drew's Undercurrent, from December 11, 1960, with Freddie Hubbard, Hank Mobley, Sam Jones and Louis Hayes. Six Kenny Drew compositions, and both Freddie and Mr. Mobley are in great form. According to the Blue Note discography, this is one of only two sessions as a leader for Mr. Drew on Blue Note.

Art Blakey--Buhaina (Prestige)--with Woody Shaw and Carter Jefferson--good record it appears I bought for $4 many years ago.

My favorite 1980s Freddie Hubbard recordings are these: Outpost (Enja)--quartet recording. Temptation (Timeless)--quartet with Kirk Lightsey as co-leader Sweet Return (Atlantic). Bolivia.

No. Do these early 80s recordings capture the Hubbard you're talking about? I'm guilty of not really listening to FH after Red Clay. Maybe time to rethink that.

I hate this thread.

Don Pullen