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It says 'mellotron' on my lp.

I recall seeing Redman with Coleman at the Prince Street loft somewhere between 1972 and 1974. An unforgetable evening. I wish I could remember who was on Bass and Drums but I seem to have developed CRS.

Anything from 'One For Me' is great. Someone really need to put this wonderfull session out on CD. She even sounds great on that mellowtron or whatever it's called on one track.

I downloaded this one from emusic a couple of months ago. Excellent. I really like the vibes-organ combination and Nelson plays really well here. It's a winner.

I understand that in his book of a year or two back, Fred Wesly says that James Brown knows almost nothing about music. He sure made some great records though. And those bands were something else.

The Complete Recordings of The Port Of Harlem Jazzmen-Mosaic MR1-108. My first Mosaic, purchased in 1984. Beautiful Sidney Bechet. This was my introduction to the wonderful guitarist Tedd Bunn.

This one was added on emusic today. I Haven't had a chance to listen to the sound samples yet but the description in the Times does make it sound interesting.

Some of my favorite time wasters are threads that involve heated debates involving the remastering of things like Huey Lewis's Greatest Hits. There's at least one guy on there who seems to buy 4 different issues of a disc all at the same time just so he can try to find the best sounding copy (though often none of them satisfy.) OK, enough of making fun of the place. It's a great place to visit. And it always makes me feel more grounded afterwards. Geez, I still have the lps and there's no upgrade in my future. None at all.

Jessica Williams. Somehow I'd not heard this great pianist before. Wow, can this lady ever play.

But is this really any different from how most labels have handled their catalog over the years? I surely don't have to remind you, Chuck, of how many Blue Note or OJC labels titles were oop over the years on LP (let alone the myriad smaller labels). Heck, when I was discovering jazz in the early 80s, I had to hunt down oop Mingus for crissakes - and to me that's like making Shakespeare unavailable. Weren't deletions a necessary part of the business model, cutting the chaff as it were and opening up shelf space for new records? I can't help but think that we may have become spoiled somewhat by Fantasy's willingness (or ability) to keep everything in print. Don't get me wrong - like everyone else I think it will be unfortunate if Concord deletes titles, but are we expecting/presuming too much in thinking that they wouldn't/shouldn't? Or that perhaps Fantasy's decision to keep everything in print may have helped lead to the circumstances requiring them to sell out in the first place? Given the widely reported "low sales" of most jazz titles it's astounding that Fantasy was able to do what they did for so long and remain profitable. Even before the sale to Concord I figured it was only a matter of time before Fantasy made much of their catalog on-line only, per something like emusic or itunes. I certainly hope that Concord continues to keep the OJC titles in-print, but i find it curious that we expect them to do something that no other label - jazz or otherwise - has managed to do with their respective back catalogs. What don't you understand when I said "I never really understood how Fantasy managed such a huge catalog of very slow selling titles"? The terrible situation of you hunting Mingus titles in the early '80s had me in friggin' tears. When I first started listening to jazz in the mid 1960s there was very little Charlie Parker in print.

Anyone who has never heard this should grab this download. I've got the LP as released on Arista Freedom back in 1977. It's a winner.

Emusic mp3s sound quite good, and you can put them on an Ipod or any other player. You can also burn them to cd. Emusic files contain NO DRMs. You are free to do whatever you want with their files. Once you download them they belong to you. You own them.

I've got the Azar Lawrence LP 'Summer Solstice' and it's nothing to write home about. Fairly typical of a lot of what was getting recorded at that time but hardly of great interest or import thirty years later. I've never heard his other two which also came out on Prestige. His recordings with Tyner are strong.

I downloaded this one from emusic.com. Excellent playing and writing. A fine example of where things are at today.

I've been looking for that one for a long time. ← If you find it jump on it. I got it when it was first released and it's a winner.

I like this CD more than you do. ← Mark Turner

Tina of course plays on Kenny Burrell's "On View At The Five Spot Cafe", and on Jimmy Smit's "Cool Blues" which was recorded at Smalls Paradise. Nothing else that I'm aware of.

I only recently became aware of Al Casey. I had downloaded his Prestige Swingville date from emusic.com. Wonderful stuff. I'll have to check out some more.

This is one gorgeous record.

Bartz has been a favorite of mine since I first heard him over 30 years ago. How he ever came to make this pile of crap is beyond me. He must have needed a payday in the worst kind of way to suspend his artistic judgement so completely.

Thanks. This board is the best.

Anyone know who produced and engineered this fine session. I just downloaded it from emusic.com. This information is not provided at http://www.jazzdisco.org/prestige/mdsv-cat/a/#svlp-2032 Furthermore, cduniverse shows it as having been recorded at Van Gelder's, not in Los Angeles. Anyone have the info on this recording? Thanks in advance

I've had mine for about two months and so far I've had no problems. I am aware that some people have had headphone jack problems but so far (knock wood) mine is trouble free.

I've got to get that Andrew Hill session. The Ike Quebec materiel is really nice, although the last session is not as strong as the first two. I've got the Mosaic Box on LP. The Booker Ervin release may be the one which was released in the 1980s on lp as Happy Frame Of Mind under Horace Parlan's name. It is excellent. Great Grant Green on this one. Highly recommended.

Lady Day: A Musical Tragedy was excellent. I can hardly believe that I saw that 33 llong years ago. The orchestra included players like Jimmy Heath. Clifford Jordan played Lester Young. It was an unforgettable evening.