ghost of miles

New: JUKEBOX ELLA. New to clearance: Cannonball Adderley, CANNONBALL AND THE POLL WINNERS Duke Ellington, THE OKEH RECORDINGS

I heard Lovano talking about it when he was on WGBH a few months ago. He sounded quite pleased with the results, but he didn't say anything much beyond the description you've provided.

I'm supposed to get a copy next week... this one's been in the can for a long time. The set-list looks to be mostly standards, with "Mother Nature's Son" thrown in as well.

I can't wait for Mojo's long-awaited second album: MO MOJO.

Wow! Didn't know that Hawk, Thad, and Costa had all recorded together--I'll have to run that one down as well. Say, brothers, couldya lend me a couple of fivers... for which I'll gladly pay you back on Friday?

I meant to say, "Sounds like a bad perfume for goths." Things seem to be moving just a bit better now, but still a tad sluggish.

I'll bet Our Man in Phoenix--aka Catesta--could help you out with that.

Was COOKIN' THE BLUES a DeFranco date or a Farlow date? Wasn't this already included on the long-gone DeFranco Mosaic?

OK, as a kid I had an 8-track tape player and owned several dozen titles--mostly rock, Led Zeppelin, Boston, the Ramones, etc. The technology changed way before I ever got into jazz, but I found myself wondering the other day if any fellow board members ever had, say, KIND OF BLUE on 8-track, and if they, too, hated how numbers would "segue" from one channel to another. In any case, here's one I found on the web:

I recently discovered this album and have listened to it several times in the past two days. It's a wonderful, laidback effort w/a young Joe Zawinul on piano, Thad Jones on cornet on half of the tracks, Sam Jones or Richard Davis on bass, and Philly Joe Jones on drums. I'd say it's become one of my favorite "Ben-away-from-the-Ellingtonians" records. Recorded in 1963, when Zawinul was playing w/Cannonball--I love the interaction of both of them w/Thad and Philly, too. Many of you probably already know this album, but if you don't--I think you'll like it!

IT LIVES!!

Just got this reply back from Mosaic. I had somehow missed the news about the Dizzy Reece Select. Good to hear that that Tal Farlow Verve is evidently really going to happen as well:

I'm also going to post this as a reply to my question elsewhere. Did I miss the news of a Dizzy Reece Blue Note Select? Mosaic's reply to my e-mail:

In addition to the many outstanding titles listed above, I also enjoy L.A. trumpeter Clora Bryant's GAL WITH A HORN. I believe this is her only date as a leader: Hoping to get the Oscar Moore soon, esp. because of the presence of Carl Perkins.

Any connection, I suppose, with the MyDoom virus? (Sounds like a bad perfume!)

Ignore the crap PR ad from Wal-Mart at the beginning... Popewatches

Much more aggressive, much more overt, and therefore more offputting to those who felt threatened by it. Less of a "pity the victim" and more of a "we don't need you to give us our freedom, we're going to take it all by ourselves, thanks much." All art is indeed political; Eric's question seems to be, "In what fashion do people prefer it? In what ways does it operate more and less effectively?" One could argue that the protest jazz of the 1960s, taken to its extremes, was "crude" compared to other, less overtly angry pieces (like Oscar Brown Jr.'s "40 Acres and a Mule," one of my favorites from that era, where Brown laces the song with a wonderfully acidic humor), but I'd imagine at the time that it seemed wholly appropriate. And still seems so today, to me, in retrospect. I also think there was much more subtlety than is commonly ascribed to the 60's free-jazz movement--the iconic image of an Ayler/Coltrane/Shepp standing onstage and shriek/honking for 45 minutes seems to me far too prominent and reductive an image for that movement.

I'm going to e-mail the Stamford folk about this and other sets that might be in the pipeline... will post back if I get a response. I've been hoping for a Tyner set for years--he's one artist I hope they give a "full box" treatment to, rather than a Select.

Perhaps NoJo is also distantly related to a certain Mr. Mojo Risin, who allegedly slipped the bonds of this mortal coil circa 1971, but who is rumored to haunt convenience stores and truck stops along the American highway, looking for the feast that he was promised.

If RaSha ever gets wind of this, he'll be lookin' to shank somebody...

Thanks, Chrome, I was looking at a copy of TIME'S ARROW the other day and considering it. Why did you find NIGHT TRAIN disappointing? I'll tell you the one misgiving I had about it--I"m still not sure I buy the motivation (or non-motivation, as it were) for the death of Jennifer Rockwell. I was drawn in much more by the story of the detective, actually. But hey, if that's Amis on a bad day, I can't wait to read the better stuff.

The Achtung Red Groper, but of course!

Seems like this piece runs about once a year now... sadly, I guess, because there's some validity to it. Jazz sales were up last year, but solely because of Norah Jones--take her out of the equation, and they declined again. One bright spot is that concert/live performance attendance seems to be holding steady:

If I'm correct, the most significant overlap between the Mosaic and the Sunbeam occurs on Volume 2 of the Sunbeam--is that right? I have 3 and 4 and love 'em (in addition to the Mosaic). Hoping to get 1 & 2 eventually, but I'm a Bix-o-phile, so... I won't mind the overlap. The Mosaic also includes a lot of Frankie Trumbauer and Jack Teagarden, a plus for me, but something else to consider if your primary focus is Bix.

... regarding full box-sets (well, and Selects, too)? Any word beyond what's showing on Alan's Jazzmatazz site? I'm hoping the Woody Herman Columbia is still on schedule...