Dan Gould

But of dubious and more risky legality. Hans, its unfortunate that the postal price is that high, but on the other hand it would mean that European members can be the beneficiaries (I sent AOTW burns to Europe for around $1.50, and in one case, a gent in the UK sent a copy on to someone else in the UK) although I know in some cases you really want to BE the moderator. Anyway, I'm all over this baby, playing around with some themes and selections, and I'm just waitin' for the call

Couple of other thoughts-we should probably limit tunes to maybe 6 or 7, that would simplify CDR production. Also, the provision of downloadable selections is really problematic considering the legal questions and the current approach of the industry, targetting individuals. That's why I've adopted the "wink wink nudge nudge" tone of my AOTW announcements. So I do recommend that we stick to CDRs, and also it might be best to stick with OOP material as much as possible.

OK, now that you've finished editing it I can reply (haven't read the edit, hope I didn't miss too much I love the idea. As the sole member who's actually organized this sort of thing when it comes to the AOW, I can tell you that this is not all that labor intensive, nor is it terribly expensive. In fact, considering that xeroxes don't need to be made, it really can be gotten done pretty quickly and easily. Also, while I haven't had to use this method, if too many people "sign up", early participants might be asked to send along a second burn to the people further down on the list. One change in format might be a good thing though-the "moderator" should start a thread approximately two weeks after CDRs are mailed, and recipients then start posting their impressions. Only after a couple of weeks, does the moderator reveal the answers. This would retain the flavor of the original blindfold or before/after tests. So, sign me up!! I'll be the first! Also, as an aside, and not to sound too selfless, but I've set up two AOTWs where CDRs were generously shared. Will anyone else step up and do the same? I'd like to get a chance to share in the wealth of others! Wait a minute-I'm a Republican and I'm sounding like Alexander. Forget I said that.

I don't know about you, Moose, but personally, having 'Grew on a disc is pretty close to a Good Housekeeping Seal of Approval.

OK, kitschy and hot

From Merriam-Webster's website, the definition of kitsch: something that appeals to popular or lowbrow taste and is often of poor quality

I'm presuming these "locations" were the private property of your neighbors? I'll say what I suspect your Dad didn't-I'm very disappointed in you, Chris.

And do you label these categories, Rooster, to help her? "Honey, You've Shown In The Past You Like These" My filing system is simple-Jazz and Everything Else. No sub-organizing, and with the expansion of slimline cases with burns plus the near-to-capacity shelves, its still not so easy to find stuff, since a lot of CDs are resting horizontally in the gap between the vertical CDs and the shelf above, and sometimes the shortage of space sends them a significant "distance" away from their alphabetical spot.

He plays tenor, alto and soprano-in fact he's quoted in the liners as feeling that switching instruments keeps the audience "into it". Anyway, a solid, fairly wide-ranging effort (though I could do without the one "contempo" tune.) Not Earth shattering, believe me, but worth hearing, and not only because it was Carmell's last recording.

Rooster, I'm curious if your rejection of most of the KC jazz scene, does this include a sax player named Jim Mair? Or have you not caught this guy? I ask because I just acquired his debut CD, self-produced, from the early '90s. I got it because its the final recording by Carmell Jones, but Mair impresses and I would expect that his playing is even better by now.

The problem with the Diaper Genie is that it picks up with the changing process only AFTER you've managed, though a combination of luck, skill, and sheer force of will, to extract the loaded diaper from the baby without hopelessly contaminating his "onesie," his feet (yes, they LOVE to flex and wriggle their legs around so their feet inevitably go right into the open, soiled diaper), your own hands, the changing table cover, the adjoining wall...well, you get the picture. Not to mention the added complexity entailed by having a little boy baby - let's just say poop is not the only bodily fluid you have to have a healthy respect for. Jim - how's THAT for graphic! OK, now how in the hell am I going to tell my wife that the idea of children isn't holding quite the appeal it once did?

You don't have to go through the website, CDBaby is stocking this. When I'm able to order, its near the top of an expanding list!

Keep an eye on the Dusty Groove website as well as Euclid Records and ebay. I know I've seen this at the Groove quite recently. Don't think its made it to CD.

Not particularly interested in this week's AOW but I am surprised to learn that Jean DuShon sings on the album. I have her two, or maybe three, albums on Argo. The one with the Ramsey Lewis Trio is pretty nice.

Why do I get the feeling Jim is about to start padding his post totals again?

I believe it was only out, briefly, in Japan some years ago. Definitely a tough one to find. EDIT: Just noticed your "Volume 3" question. The cuts on Volume 3 are on various US released albums, including the Introducing two-fer, and I think the Five Spot recordings. Nothing special 'bout it, which is why I'm glad I got it for like $8 and sold it for a wee bit more!

Board member MikeB was there this weekend, perhaps he will post about it. FWIW, I think that Euclid has surpassed what Vintage Vinyl used to be, but when I lived in St. Louis ('87-'90) I definitely stuck with Vintage Vinyl, and not just because I lived in U. City.

And what makes this a "concept" album, may I ask?

I finally broke down and ordered the Japanese import of Barry Harris' BREAKIN' IT UP from Mr. Tanno. I may do the same with some other Argo titles if Universal doesn't appear to be more forthcoming in the next year or so. GoM, you probably do not want to know this, but Red Trumpet had the Barry Harris Argo for like $15 in their recent sale.

I should clarify by saying that in my opinion, the rude, pathetic crowd I dealt with was NOT a listening crowd by any stretch. 95-99% of them were NOT a jazz crowd at all. They were a bunch of yuppies getting drunk on a Friday night and couldn't give a rip who was on the bandstand. That's why I had to get out of Tallahassee!

I have to say I disagree with the term "most" unless you are saying that the most common common general intent of jazz albums is to jam on a blues or two, a few originals and a standard or three.

To name a rock "concept" album-Tommy or Dark Side of the Moon. Something beyond, say "Ballads and Blues". Something that aspires to more than just a cohesive album-not sure that Lonely Town really qualifies, frankly. BTW, Bluesnik has been remastered in Japan. Would love to see it as a domestic RVG!

Funny, I thought he was in his "how many times can I play this note over and over again before anyone will notice?" mode. I'm just messin' with ya! Parenthetical story about this date-when I first discovered New York's Jazz Record Center, I was talking to the owner, Fred Cohen. This was the time when Toshiba was putting out LPs rather than CDs and I was happy to pay $25 or $30 for them. I asked him about these reissues and he complained specifically about Hootin and Tootin because he knew it was a title that collector's really really wanted but he was shocked and distressed that no one seemed to want to buy these Japanese repressings-they wanted the original only!

Can a non-musician give a comment about ballad playing? When I was living in Tallahassee, the jazz scene was nearly non-existent despite the presence of two strong jazz programs, and Marcus Roberts has lived there for many years. Herb Harris and Marcus Printup played a gig at a club-not sure if the club typically booked jazz; the clientele was heavily on the yuppie side, professionals who probably all worked in state government or in the capital building. So, the band hits, and they're very good (I think the rhtyhm section-or at least the pianist-played on Printup's Nocturnal Traces). They play a couple of uptempo tunes to start, and then they bring it down with a lovely ballad. And what happens? The room ERUPTS in conversation and I realized that these losers had no idea who they were listening to and didn't give a fuck about them. The band was no longer blasting at full strength and now you could talk to your neighbor, so damn near everyone started to do precisely that. Pissed me off and I swore I had to get the hell out of Tallahassee soon.

Thought about doing this as a poll but thought better of it. It came to mind now that I've picked up a copy of Benny Golson's Take a Number From One To Ten and been able to hear the three Octet, Nonet and Tentet tunes that Keepnews inexplicably lopped off the reissue. But this is a terrific "concept" album that really works well, as Golson's arranging, playing and composition talents (he wrote five of the last 6 tunes) really get a chance to shine. So what are your favorites and why?