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Three of my favorites, whom I'm only seen separately, together at once, sounds great. (You might want to search for recordings by the Moffett Family Jazz Band. What a band that was.)

O I love most of these guys. Ayers is my favourite, because his sound is sooooo beautiful, more than that of any other vibist, and during years with Herbie Mann he played some very exciting rhythmical phrases. His collaborations with Jack Wilson are timeless.

Pursuit ... threw alot of people off? Oh, I remember a fair number of "complaints" about electric bass, Michael Brecker, vibes, etc. That was when it first came out as an RVG last year(?). None lately. Maybe they've gotten over it by now. Of course--an electric bass---the horror, run... run....

Pursuit ... threw alot of people off? I thought it was terrific; I didn't buy it the first time around, but really enjoyed the recent CD reissue.

Yes, I have it. I like it. Mr. Newman plays tenor (with a beautiful tone) on all tracks except the title track (a flute track, first recorded on Newmanism). The band is a fine quartet or quintet, with Curtis Fuller on trombone on the majority of tracks, John Hicks on piano and Jimmy Cobb on drums. (The bassist escapes me at the moment.)

PAL means the European format, doesn't it, which isn't compatible with NTSC, the U.S. format? Otherwise, I would be placing an order for about 7 of those.

Tom Landry was a great coach. From 1966-1985, his team made the playoffs in 18 out of 20 consecutive seasons, went to five Super Bowls, winning two, and losing the other three in down-to-the-wire thrillers. I believe that Landry actually invented the 4/3 defense when he was an assistant coach at the New York Giants (Lombardy was also an assistant coach there). In addition, the zone defense was invented to combat Landry's schemes on offense with Bob Hayes.

It's a great set, well worth full price. Art Pepper was at his best in the 1970s/1980s.

I've always used the Kiplinger (now H&R Block) tax return software. It works great, and I've never had a problem. Also, I think it's usually cheaper than TurboTax.

This is a mono recording from Small's Paradise. Hence, it doesn't have perfect sound. However, this is one of my favorite Jimmy Smith recordings. He sounds on fire to me, plus you've got Lou Donaldson and Tina Brooks (sounding great). It's a must have recording for a jazz organ afficiando.

I saw T.S. Monk at Joe's Pub in New York last October. It was kind of a short set (40 minutes or so, second half of a double bill), but I must say that once the band got untracked they swung like mad. It sort of reminded me of the Jazz Messengers. Bobby Porcelli was on alto, Willie Williams on tenor and Winston Byrd on trumpet. I would jump at the chance to see him again.

Well hell, he got to see the Mingus gig I missed. Lacefield talked about this incredble tenor player whose eyes rolled back in his head when he played. George Adams wasn't quite on our radar screen yet, but defintitely was when CHANGES 1 & 2 came out soon afterwards. Cannonball playing w/a lit cigarette vs George Adams' eyes rolling back in his head. I'd say we're even! Yes indeed, George Adams' eyes did roll back into his head, so that looking at him all you could see was white. He was amazing, but I never got to see him again. I went to see the Mingus Big Band in New York, when it first started, having read that Adams played in the band, and asked a woman working there (I think Mingus' step daughter) if he would be playing that evening and she said they took him out on a stretcher the week before. I think he died soon thereafter. In similar fashion, I was really excited about heading to New York when Don Pullen and his Afro Brazilian Connection was playing at Sweet Basil; on the plane, I read that he had just died.

My first four concerts: 1. Mingus with Adams, Pullen, Walrath, and Richmond in 1974 (GREAT!); 2. Lightnin Hopkins (terrible); 3. Freddie King (GREAT!); 4. Dizzy Gillespie (good but a bit disappointing at the time).

Also in 1974, Cannonball Adderley played in Dallas and I wasn't able to manage to attend.

I was at that Mingus concert at SMU. Actually there were two concerts, but I didn't drive yet so I was dependent on a ride from a couple of friends and wasn't able to stay for the second concert, which I've always regretted. There couldn't have been more than 20 people at the first concert, and I got to sit in the second row and be blown away.

I saw that exhibition at the AfterImage Gallery and purchased the book. Some great photographs.

My personal favorites and Sweet Rain and Dynasty.

The Candid recording, Out Front, and the Bethleham recording, Victory and Sorrow, are his two mature masterpieces. Little's playing on these is great, his compositions are wonderful, and his leadership of the two sextets (with some overlapping personnel) is impressive.

It is the funniest show on TV, that I know of. It chronicles Larry David's spectacular inability to smoothly interact with other humans.

Personally, I find the date to be very exciting. I love Canon, Opus 3, and Opus 4, as well as the compositions by Adams and Pullen, both of whom sound great. The trumpet player does leave something to be desired. Not at the same level as Changes, but then practically nothing is.

That's the first Mingus record I bought, when it was released. It's a fantastic recording.

Does the Lord discography show any other Gene Shaw recorded appearances, other than Tiajuana Moods, East Coasting, A Modern Jazz Symposium..., all with Mingus, the unreleased session with Shaft Hadi and Pepper Adams included in the Mingus Debut box, and the three Argo session?

There's also 3 LPs on "Unique jazz" "Mingus in Stuttgart," from April 28, 1964. This concert has what must be the longest version of Fables of Faubus, at nearly 50 minutes.

It was either The Best of Cannonball Adderley on Capitol, or a Columbia Miles Davis Anthology called Basic Miles, purchased around 1973.

I have enjoyed his recent recordings on High Note. These are three really good ones. Chillin', Davey Blue, and Keep the Spirits Singing.