Dan Gould

Once upon a time, and I realize this time is fading fast in the rearview mirror, someone at the NYT would have asked "was the group promoted as the Second Great Quintet? If not, then don't call it that."

Everyone wants to add their 2cents about who was "biggest" in 1963 but what about the whole proper noun-ification of "Second Great Quintet" ?

I think that "World's biggest jazz musician" implies a substantial amount of cross-over appeal, and has nothing to do with what the "cognoscenti" would say.

I realize it may be behind a paywall for most but: https://www.nytimes.com/2023/05/03/arts/music/herbie-hancock-jazz-music.html Discuss, if you wish ... but here is my main question. That would have been a fine enough existence, but in 1963, his life changed when the trumpeter Miles Davis — the world’s biggest jazz musician — brought Hancock into the fold to be a member of his band, the Second Great Quintet. Is it truly proper English to call the group Second Great Quintet when that was never it's proper name and was only a colloquial name given in recognition, after the fact that Miles led not one but two great, distinctive, important Quintets? Also, when the 60s Quintet came into being, was Miles really the "world's biggest jazz musician" at that time? Putting aside Duke and Armstrong, I would have guessed that Stan Getz was the biggest jazz musician after his recent major LP successes. I would argue Miles wasn't "the world's biggest jazz musician" until he broke thru to the much younger audience, Bitches Brew and beyond ...

There's literally nothing in Mosaic's past to make one think that Shirley Scott's music from the 60s-70s fits into Mosaic's wheelhouse for a set. It would be like a late 60s - early 70s Lou Donaldson box, only without the BN cachet for the label (not to mention the ease they have had dealing with BN for licensing.) Mary Lou Williams though ... that's a clear contender in terms of era and importance and sidemen - Aside from issues of licensing/labels and that all-important question of demand in this day and age.

Shit-stirring par excellence here ... first pronounced guilty of "sexism" on what is zero evidence and now its all about "white guys" servicing the needs and desires of other "white guys". Absolutely sick of this garbage. Go set up your own goddamn company to put out what you think should be put out. Go put your own goddamn money at stake. And anyway, what do you care what artists get the Mosaic treatment when it comes from a sexist, racist, all-but-dead company?

Thank you!

I need to find decent length clips to be sold on this one. I found an AllAboutJazz review and there are some warning signs for me in there: There are lots of long hot-tempered lines and squealing by Coleman That's exactly the Coleman that doesn't make me excited to spend $25 on two CDs. I know my mileage is very different from others ... 🤐

Per Wiki written by Schaffer and Paul Jabara and meant for Donna Summer but she had recently become "born again" and considered it "blasphemous". I guess that "hallelujah" is only allowed in religious songs.

Curious what you think, Lon. I listened in the car last night on the way to and from a dinner engagement, and gave it thumbs up. It sounds to me like if Vick is going for "Coltrane" it's not Coltrane 1966, it's like Coltrane 1959-61 or maybe a tiny bit later. I like it. And your comments on the sound may reassure @felser that he shouldn't steer clear due to the source.

My interest was predicated on Junior Cook playing tenor and not appearing on one track while playing soprano (did he ever record elsewhere on soprano?). So it's a definite no for me.

Why would you ask me about a historic figure, a significant 60s-70s trumpeter, and a guy who played with the Blues Brothers?

I've done the same, but being perfectly aware of it: "More Jug!" "More Jaws!"

No politics I am aware of but I'd recommend James Carr. Ace has excellent comps as well as a strong recording from, IIRC, the 90s when he performed again.

I have no use for your "tests". I know four of those.

I wouldn't have the foggiest notion who that is.

Why would the co-writer of "It's Raining Men" even get booked on her show? I never knew him to have any yearning for playing jazz or being inspired by it though I guess there was some incipient threat of it if Dave had to tell him not to play that style.

Special for @JSngry

So TTK's latest got me wondering. I hardly ever, bordering on never spent time in dollar bins at vinyl shops, for simple reasons: The covers generally looked horrible, they would never waste a poly sleeve on those LPs, they were poorly organized or not organized at all, so finding cheap jazz was a challenge to begin with, and what is the condition of the vinyl likely to be when it's a dollar record, purchased for 5 cents? So am I the only person who avoided dollar bins because I'd rather play in the $5 and up section to get something that might not be beat to hell, or what?

Must be one of those threads lost in a server transfer, or else Paul Secor went around deleting threads before his departure, which I do not recall. Edit to clarify that Paul posted a link from another (mostly) departed member, Hans. It wasn't his to delete. So definitely lost in one of the server transfer snafus.

Obviously a newly coined phrase, combining CooCoo for Cocoa Puffs insanity and Gwen Stafani-inspired "this shit is bananas", for good measure. I applaud his creativity.

I listened in the car and have had A/C issues of late, so windows were open for cross-breeze. That being said I felt like the sound quality was good with all instruments present and accounted for. I plan to listen to CD2 in the car on my next drive tomorrow night, which is almost to Tampa so plenty of time for another 55 minutes or so, and then bring it into the office/listening room for next listen. Though the problem there is that work often interferes with listening.

Thanks for posting this ... I am devoutly hoping that we will hear that there are other Left Bank tapes coming for November RSD or a year from now. I've listened to the Bishop Jr disc 1 and enjoyed quite a bit.

I admire your restraint on some level but the beauty of jazz its capacity to surprise. Having one Stanley Turrentine recording to represent his BN years, or one Mobley recording, that's cutting yourself off from too much. I would never get to the extreme of TTKs vinyl collection, but the hunt for new continues, as I also enjoy the "old" - or at least owning it one form or another makes me feel I can go back to when Workout, Soul Station, or Blowin' The Blues Away were truly new to me.

Hard to imagine there aren't more copies in the hands of sellers but maybe that is the state of its availability. OTOH I have a hard time believing that all that digital material available to purchasers won't make it into "circulation" if you catch my meaning.