Saint Vitus

It's interesting to see Jim had already asked this question ... because I was meaning to ask if he was satisfied with the sound he got on Waiting for Boogaloo Sisters and I was specifically thinking of asking him to comment on the sound on Unity as the reference.

Courtesy of the Miles Davis list ... A RealVideo clip of Cannonball and Jose Feliciano on Kung Fu

Your link renames the company Sorryville, Brownie.

If only Norah had mentioned his name in any of the five speeches she gave at the Grammys ... No wonder he was in such a bad mood this past month.

I doubt it ... If this were a rock record, maybe ... but I don't think they'd be many jazz fans so gullible for this to attract consistenly a high price.

Maybe the contestant said, "What is bird, man." Alex is a man, you know? (B3er: We need a winking roboticon, don't you think?)

No, but I got one yesterday about the new Soullive album, with an option to preorder no less. See, they DO care! I got that one, too ... which gave me an opportunity to take my name off their list.

Honestly ... I began choosing anything over BN and I don't think I ended up with a loss on that. There are so many viable alternatives. I do not have any relationship with Cuscuna or Evered and I do not feel guilty about my way of punishing BN for the arrogance they displayed (and keep displaying, evident from Kevin's updates). Mosaic? Well, if it collects labels others than Capitol/BN/Roulette/Pacific Jazz, maybe. Otherwise? Hell, no.

Ornette Coleman: Town Hall 1962 (ESP) Old and New Dreams (ECM) John Hicks: Live at Maybeck Recital Hall (Concord) Now: Thelonious Monk on B'Note

Seeing that the initial batch of LPRs ended up in record clubs almost immediately (and these limited editions often do not), I imagine they did not sell well at all. So I think "to drop the price" is a likelier answer.

PD, Is it OK for you to behave boorishly without regards to other members just because this is an open board? How many of your comments did Use3D delete? None. I believe as the moderator he should be able to use his discretion to stop certain discussions from getting out of hand, and I feel he was right in stopping whatever you had going with LP. While the decision to move one of your messages to a related thread can be questioned, I don't think his action warrants the overreaction you have displayed. Nepotism? Censorship? Corruption? Big words for such a little cause ...

Check out local Barnes & Nobles to see if they have John's Maybeck Recital on Concord. The two stores I visited here had copies, of course on sale for $3.99. It's a keeper.

Thanks, Dan, for being so understanding and accommodating.

Dan, Your avatar is causing me a headache everytime I see it being flashed on screen. This ain't no joke, I'm afraid. I won't mind if you decide to stick with it, but then I'd have to stay away from what you have to say on this board.

My copy got here today and first of all I should say ... Bravo! I expected, of course, solid grooves and hot solos ... but I did not expect the program as a whole to be so consistently entertaining and inspring. It's being played for the third time and I haven't released the repeat button yet.

A killer combination, Fat Bad Boy Parker. :rsly:

I'm thinking of picking up some of the following titles and wonder about how you feel about them. Thanks in advance for advice. Louis Armstrong All-Stars Benny Carter - Summer Serenade Wild Bill Davison - Sweet and Lovely Wild Bill Davison/Ralph Sutton - Together Again Earl Hines - Master of Jazz, Vol. 2 George Lewis - Jam Sessions George Lewis - Live at Club Hangover 1953 Art Pepper - A Night in Tunisia Art Pepper - I'll Remember April Art Pepper - Live in Japan Ben Webster - Master of Jazz, Vol. 5 Lester Young - Master of Jazz, Vol. 7

Lee Morgan's Candy and Herbie Hancock's Empyrean Isles quickly come to mind.

WY is on some of Jackie Mac's Prestige sessions.

It sure appears the essay is throwing people off ... for all reviews I've read mention the failure (in their opinions) to meet the grand objectives set out by the notes. It's as if the critics are objecting to the artist's ego more than they are to the musical content. I've been listening to this without having read the essay (and having for the most part disregarded what I read in the reviews). I cannot yet see how all different parts tell a story put together ... but I agree the playing is adventurous and challenging. I see some reference points here and there ... The ensemble parts and solos remind me of Andrew Hill's works at some points, but they also sound like Donald Byrd's Band and Voices or Duke Pearson's big band. There are moments that suggest a strong influence on Harris by Bobby Hutcherson. In slow passages, the ideas that could've been taken out of "Django" pop up and grab me ... but the sound Harris projects is closer to Hutcherson's on his less adventurous works.

So what do you do with Pete (La Roca) Sims, L, R, or S?

For Pat Sajak's sake ... no, I've never heard of Etaoin Shrdlu.

I thought it was for "Jay's angry." I still have no idea what Shrdlu means.

Recent purchases and trades plus a busy schedule led to a rather large back log that includes several Black Saint/Soul Note titles, Bob Marley deluxe editions (Catch a Fire and Rastaman Vibrations), and Japanese Herbie Hancocks (Piano and Trio '81). This is after a couple of days spent listening to seven titles arrived via the last trade I made over at BNBB. (I was surprised by how much I liked Alice Coltrane's Universal Consciousness ... Maybe I should think about investigating her Sepia Tone reissues).