ghost of miles

I’ll ask around.

Jomboy on Max Scherzer ejection

Revisiting this one for the first time in quite awhile—really pleasing swing-to-bop music. Disc 3 with Flip, and Howard McGhee on board for some sides:

Realized recently that we never started a 2023 baseball season thread. So, fellow fans, how are you liking (or not liking) the faster-paced games and rules changes? I gotta say I'm really enjoying it so far... the games seem more dynamic, with the pitch clock keeping the pace fairly brisk, base-stealing back in vogue and batting averages up with the ban of the shift. Plus there are some exciting rookies to watch--Jordan Walker with the Cardinals, Masataka Yoshida with the Red Sox, Anthony Volpe with the Yankees, Gunnar Henderson with the Orioles, Corbin Carroll with the Diamondbacks and others. And what's the outlook for your favorite team(s)?

Didn’t notice that, but yeah. 👎 I’m likely to pick this one up regardless (on CD), and I’m sure my pursuit of life, liberty and happiness won’t be too impeded by missing a couple of alternate takes, but that kind of packaging gimmickry is really irritating—especially when they’re marketing something as “Complete.”

This has been on my to-watch list for a long time… thanks for putting it back on my radar. Recent viewing includes this fine 1973 Robert Mitchum outing: Also noticing as I get older that films and TV shows shot in the 1970s provoke a very bittersweet sort of nostalgia in me. The textures of the physical world on display—characters using pay phones, buying coffee from vending machines in the pre-Starbucks era, the bars and aging early/mid-20th century diners and other haunts that they frequent—is the world of my parents and my grandparents as well as my childhood, is one that’s just about gone at this point. As will we all, sooner or later! Hopefully later. Haven’t seen any other Mitchum movies from the 1970s—recommendations? I’ve always been a little wary of checking out his turn as Marlowe in remake of The Big Sleep, but somewhat curious as well, given that I’m a Mitchum fan. (Does my avatar give it away? 🧐)

Coming from Rhino in June—here’s the press release I just received:   CHARLES MINGUS CHANGES: THE COMPLETE 1970s ATLANTIC RECORDINGS 8-LP And 7-CD Deluxe Boxed Sets Featuring Jazz Icon’s Final Seven Studio Albums And Unreleased Outtakes Available June 23 LOS ANGELES – Charles Mingus is the most important American jazz composer after Duke Ellington and Billy Strayhorn. As part of the ongoing celebration of Mingus’ centennial, Rhino will release a new boxed set that spotlights the creative resurgence that defined the final phase of the legendary bassist and composer’s career. The upcoming collection includes the last seven studio albums Mingus recorded for Atlantic Records between 1973 and his death in 1979 and a selection of outtakes - some previously unreleased. CHANGES: THE COMPLETE 1970s ATLANTIC RECORDINGS will be released on June 23 as a 7-CD set for $79.98, an 8-LP set on 180-gram vinyl for $199.98, digitally for $24.99, and for stream. Pre-orders are available HERE. The set brings together newly remastered versions of all seven studio albums Mingus recorded for Atlantic in the 1970s. The LP and CD versions include Mingus Moves (1973), Changes One(1974), Changes Two (1974), Three or Four Shades of Blues(1977), Cumbia & Jazz Fusion(1977), Me, Myself an Eye (1979), and Something Like a Bird(1979). The collection also features previously unreleased session outtakes. CHANGES: THE COMPLETE 1970s ATLANTIC RECORDINGS comes with an illustrated booklet that delves deep into the final years of Mingus’ music with extensive liner notes by Andrew Homzy, a musician, arranger, jazz scholar, and Grammy® Award Nominee. Mingus Moves opens the collection, recorded in October 1973, leading a new quintet with youthful musicians – trumpeter Ronald Hampton, tenor saxophonist George Adams, and pianist Don Pullen – and old friend Dannie Richmond on drums. One of the songs they recorded was a new Mingus composition, “Opus 3,” which was built on the chords from the composer’s 1956 landmark piece, “Pithecanthropus Erectus.” The band’s lineup shifted slightly in 1974 when Jack Walrath replaced Hampton on trumpet. Soon, Mingus and the group returned to the studio for a three-day session that produced two albums, Changes One and Changes Two. A tribute to Mingus’ dynamic wife, “Sue’s Changes” from Changes One is a vibrant masterpiece. With five themes that move through several different keys, tempos, instrumental textures, and emotional registers, it’s a highwater mark not only in Mingus’ career but also in jazz history. Mingus recorded Three or Four Shades of Blues in 1977 with a rotating cast of stellar musicians. The album includes new versions of two Mingus standards, “Goodbye Porkpie Hat” and “Better Git Hit In Your Soul.” Mingus was commissioned to write the score for an Italian film, Todo Modo, in 1976. Performing with a large ensemble, he recorded two extended compositions that rank high among his best work of the 1970s. Ironically, the music wasn’t used in the film; however, it was released on Cumbia & Jazz Fusion in 1977. Later that year, Mingus was diagnosed with Amyotrophic Lateral Sclerosis (aka Lou Gehrig’s Disease). Undeterred, he continued to compose and direct his last recording sessions from a wheelchair. Me, Myself an Eye,and Something Like a Bird were completed before his death in January 1979 - both included in Changes. Five previously unreleased recordings debut in the new collection. The CD version includes three outtakes: “Big Alice,” “The Call,” and “Music for ‘Todo Modo.’” The LP version consists of those plus additional unreleased takes for “Big Alice” and “The Call” that are exclusive to the vinyl set CHANGES: THE COMPLETE 1970s ATLANTIC RECORDINGS Vinyl Track Listing LP 1: Mingus Moves (1973) Side 1 1. “Canon” 2. “Opus 4” 3. “Moves” 4. “Wee” Side 2 1. “Flowers For A Lady” 2. “Newcomer” 3. “Opus 3” LP 2: Changes One (1974) Side 1 1. “Remember Rockefeller At Attica” 2. “Sue’s Changes” Side 2 1. “Devil Blues” 2. “Duke Ellington’s Sound Of Love” LP 3: Changes Two (1974) Side 1 1. “Free Cell Block F, ‘Tis Nazi U.S.A.” 2. “Orange Was The Color Of Her Dress, Then Silk Blue” Side 2 1. “Black Bats And Poles” 2. “Duke Ellington’s Sound Of Love” 3. “For Harry Carney” LP 4: Three Or Four Shades Of Blues (1977) Side 1 1. “Better Git Hit In Your Soul” 2. “Goodbye, Porkpie Hat” 3. “Noddin Ya Head Blues” Side 2 1. “Three Or Four Shades Of Blues” 2. “Nobody Knows (The Bradley I Know)” LP 5: Cumbia & Jazz Fusion(1977) Side 1 1. “Cumbia & Jazz Fusion” Side 2 1. “Music for ‘Todo Modo’” LP 6: Me, Myself An Eye (1979) Side 1 1. “Three Worlds Of Drums” Side 2 1. “Devil Woman” 2. “Wednesday Night Prayer Meeting” 3. “Carolyn ‘Keki’ Mingus” LP 7: Something Like A Bird(1979) Side 1 1. “Something Like A Bird Part 1” Side 2 1. “Something Like A Bird Part 2” 2. “Farewell Farwell” LP 8: Outtakes Side 1 1. “Music For ‘Todo Modo’” (Take 1)* 2. “Big Alice” (Take 1) * 3. “Big Alice” (Take 2) * Side 2 1. “Big Alice” (Take 3) * 2. “Big Alice” (Take 4) 3. “The Call” (Take 1) * 4. “The Call” (Take 2) * Previously Unreleased CHANGES: THE COMPLETE 1970s ATLANTIC RECORDINGS CD Track Listing Disc 1: Mingus Moves (1973) 1. “Canon” 2. “Opus 4” 3. “Moves” 4. “Wee” 5. “Flowers For A Lady” 6. “Newcomer” 7. “Opus 3” 8. “Big Alice” (Take 1) * 9. “The Call” (Take 1) * Disc 2: Changes One (1974) 1. “Remember Rockefeller At Attica” 2. “Sue’s Changes” 3. “Devil Blues” 4. “Duke Ellington’s Sound Of Love” Disc 3: Changes Two (1974) 1. “Free Cell Block F, ‘Tis Nazi U.S.A.” 2. “Orange Was The Color Of Her Dress, Then Silk Blue” 3. “Black Bats And Poles” 4. “Duke Ellington’s Sound Of Love” 5. “For Harry Carney” Disc 4: Three Or Four Shades Of Blues (1977) 1. “Better Git Hit In Your Soul” 2. “Goodbye, Porkpie Hat” 3. “Noddin Ya Head Blues” 4. “Three Or Four Shades Of Blues” 5. “Nobody Knows (The Bradley I Know)” Disc 5: Cumbia & Jazz Fusion(1977) 1. “Cumbia & Jazz Fusion” 2. “Music for ‘Todo Modo’” 3. “Music for ‘Todo Modo’” (Take 1) * *Outtakes Disc 6: Me, Myself An Eye (1979) 1. “Three Worlds Of Drums” 2. “Devil Woman” 3. “Wednesday Night Prayer Meeting” 4. “Carolyn ‘Keki’ Mingus” Disc 7: Something Like A Bird (1979) 1. “Something Like A Bird Part 1” 2. “Something Like A Bird Part 2” 3. “Farewell Farwell” * Previously Unreleased ###

Recently binged on some of the Widow’s Taste releases that Laurie Pepper put out and thought about wanting to revisit this very set. Right now, discs 14 and 15 of the Herbie Hancock Columbia box, which include all of the material from this album and its followup. A lot of stylistic breadth to this Hancock Columbia set, which encompasses everything from the Mwandishi and Headhunter bands to VSOP and Future Shock.

Just got back from seeing Jeff Parker perform a set of his music with the Plummer Jazz Sextet (an ongoing group of IU’s best jazz students, named in honor of saxophonist Paul Plummer, who gave two million dollars about 10 years ago to found an IU jazz studies endowment). A beautiful performance to match the evening’s weather.

To my less-than-audiophile ears, yes—more than acceptable. And so good to have such a trove of Scott with George Coleman. Three vocals from Ernie Andrews as well.

Yes indeed! 👍 Oh man, so digging this:

A Betty Carter set covering late 1950s through end of 70s—but I realize that would be a multi-label licensing nightmare. (And who owns the Bet-Car catalogue now?) A Geri Allen set of some kind… maybe 1980s/90s leader and side musician dates. And definitely some sort of Mary Lou Williams 1940s box.

Classic!

Love Bud’s “Straight No Chaser” solo on the recent Stockholm 1962 CD. Wonderful that performances like this keep surfacing… more evidence of how often he could still summon melodic verve and the emotional intensity of his previous work in this era. I probably listen more to early-1960s Bud than any other period in recent years, though that may be a result of having listened so frequently to the classic 1945-53 recordings over the years that I’m often more curious to revisit the expatriate sides. Or to hear new releases from that late 1950s/early 60s stretch like this one, which gets filed in my head under “Bud in good form.”

Would've killed to see this one, especially given that configuration. Caught McCraven here in Bloomington several years ago in a small-group context and it was outstanding.

Wowza! Memory Lane Express. I see that back in January of 2002 I was suggesting that Mosaic do Roy Eldridge and Illinois Jacquet sets drawn from their Verve recordings. One out of two ain't bad... can only add my love and appreciation for this board to what's already been said. Still by far the best place on the Internet to discuss jazz afaic, thanks to Jim's stewardship and the great mix of members. Some significant friendships made and much knowledge acquired here. Hell yeah to another 20 years!

You’re correct, and my earlier post was mistaken—he’s 63. Michael is 74.

Given that I believe Michael and Scott are both in their 70s now, I think it’s asking a lot for them to somehow reinvent the wheel that is Mosaic. And I have no inside knowledge, but I don’t sense that there’s anybody in line to take over once they retire. Maybe Zev Feldman or somebody else will make a bid for the label if it’s put up for sale. The Braxton set surely came about in part because of MC’s direct involvement in those records. I seem to recall hearing that it sold reasonably well, which doesn’t surprise me, given the international base of Braxton fans and the significance of what he did on Arista. No idea about the Threadgill set’s sales, but it obviously didn’t tank the label. From what I understand, though, one very poor-selling set *could* sink them. (Niche markets are a tricky business anyway, even in the best of economic circumstances.) That may account for playing it safe at this late date in the Mosaic story. Mosaic’s going to mark its 40th anniversary this year, correct? They’ve had an amazing run, and I hope they can keep going for a few more years. I’m the kind of customer/listener who buys the Threadgill and Braxton sets *and* the JATP, swing-era and Blue Note boxes (I know I’m far from alone in that regard on this board), and I’ll likely be in line for whatever’s next, whether it’s a Sonny Clark or an Anthony Davis collection. It’s amazing to contemplate the Mosaic discography and the wealth of jazz history that their sets represent, and that they’ve managed to stay afloat amid all of the changes in the music marketplace—the rise of streaming in particular. And as somebody noted earlier in this thread, they still put out the occasional jaw-dropper, like the Tristano private collection or the Savory box. Grateful for all of it, and to MC and Charlie Lourie and Scott for sustaining such a mission of love; they’ve accomplished much. If the concept of physical-media anthologies survives, whether in the form of vinyl or CDs or some sort of virtual-reality hologrammy “Anthony Davis plays in your living room” form (I’m only half-kidding… the future’s getting weirder all the time and continues to arrive on schedule), then I imagine that we’ll see some of the suggestions in this thread eventually come to pass, albeit likely from a non-Mosaic source. If nothing else, the reissue industry always needs new past eras to mine. What about an M-Base or Medeski, Martin and Wood set? Probably not of interest to many here, but the 1980s and 90s have already become well-mined in popular culture (the ongoing 90s nostalgia/retro appeal among my younger 20something friends is intense) and the jazz from those decades is now as far back in the rearview mirror as Monk’s Blue Note sides were when Mosaic started. As Jsngry said, *somebody* will do the Anthony Davis set… and if it’s done well, it doesn’t really matter to me whether it comes from Mosaic or not. The sadly-departed Revenant did a fantastic job with their Ayler box (good Lord, did that come out nearly 20 years ago?) and the Tubby Hayes Fontana has been one of my favorites in recent years. Agreed! Also add my lament that James Carter’s Roots and Folklore cycle remains uncollected, per previous comments that also alluded to the inherent licensing difficulties that series presents.

Great Bowie record for ending the 70s and beginning the 80s. A New Romantics keystone. Coincidentally I’m listening right now to a Lou Reed record from around the same time: