MartyJazz

As Sophia Loren, of all people, once said: "Don't cry over anything that can't cry over you."

No, but I took the plunge and ordered a 2nd hand "like new" copy along with the one below from Amazon.com just a couple of hours ago. Looking forward to getting them.

On a smaller scale than the Jutta-Zoot, but still "impressive" in terms of what some people are willing to pay, check this out (with 2 days still to go!): eBay deep groove Blue Note madness

March 19th. Recorded on this date: 1927, Fletcher Henderson & Orchestra featuring Coleman Hawkins record "Sensation". 1942, Earl Hines & Orchestra with Billy Eckstine (vcl)* record for Bluebird Records (RCA Victor): "Second Balcony Jump" & *"Stormy Monday Blues". 1962, Jackie McLean 4 with Walter Davis Jr., Herbie Lewis & Billy Higgins - LET FREEDOM RING (Blue Note): 1963, Herbie Hancock with Donald Byrd, Hank Mobley, Grant Green & others - MY POINT OF VIEW (Blue Note):

Not true! You heard a cut from the aforementioned album on my blindfold test! Jeez, did I? Not only don't I know sometimes whom I'm listening to, it seems I can't remember who it was after I've been told. Thanks for reminding me. I'm gonna go back to the answer sheet you provided for that BFT and see what you had to say about him. B-)

Other than the fact that it's a little on the short side, it is a very good date. The material in conjunction with the duets with Jobim compelled Sinatra to sing softly which I suspect could have been more taxing than singing at normal volume. Interesting in that respect to contrast his version here of Porter's "I Concentrate on You" with the earlier Capitol take.

...which is why I hesitate, and usually do not buy any of his live material. How could such a terrific singer who could interpret the great song lyrics of our time with such intelligence, be so boorish on stage? An enigma.

I have the LP which kind of surprises me somewhat since I'm not a particular fan of his solo recordings, preferring his ensemble recordings much more.

I don't know about Deus & Hans, but I see posts by Ubu and Brownie every day. Depends on where you're looking, I guess. Ubu is all over the BFT and Vinyl boards among others and Brownie I see every day in the Discography section where he and I compete as to who can get the "Recorded on this day" post out first. I know I'm shortchanging Brownie because I see him in other forums as well.

An album that really opened my eyes (actually ears) this past year to Solal's "modern" style was a live session that he did back in '74 with Lee Konitz, JAZZ A JUAN. Quite good!

I had never even heard of this guy much less listened to him until just yesterday. This past weekend I'm at a local library book sale where they had a separate desk of sealed CDs selling for only $3 apiece. Evidently they had been donated for charitable purposes. No jazz except for one CD that normally I would not have purchased except for the low price - an anthology titled AS LONG AS YOU'RE LIVING YOURS: The Music of Keith Jarrett (RCA Victor). It showcases a variety of players however there is one brief track titled "Innocence" that features Garzone supported by Massimo Biocati (b) & Bob Gullotti (d). As soon as it came on, I was all ears. He has a great sound and the track really cooked. I definitely would like to hear more of him.

March 18th. Recorded on this date: 1957, Max Roach 5 with Sonny Rollins, Kenny Dorham - JAZZ IN 3/4 TIME (completed 3/21, Mercury): 1961, Horace Parlan 5 featuring the Turrentine brothers - ON THE SPUR OF THE MOMENT (Blue Note): 1963, Stan Getz-Joao Gilberto - GETZ-GILBERTO (completed 3/19, Verve): 1966, Hank Mobley Octet featuring Lee Morgan & McCoy Tyner - A SLICE OF THE TOP (Blue Note): 1986, Branford Marsalis - ROYAL GARDEN BLUES (completed 3/20, Columbia): 1989, Chris McGregor & the Brotherhood of Breath with guest Archie Shepp - EN CONCERT BANLIEUES BLEUES (52e Rue Est).

His version of "My Funny Valentine" from that Vee-Jay set is my all time favorite vocal of that well done standard. Wish him a happy birthday for me and tell him also how much a kick I get whenever I recognize him in the various small film roles he gets.

Ditto. A thrill that recurs every time I listen to it is the terrific version of "Evenin'" done with Pres and the Basie Orchestra in a reunion at the Newport Jazz Festival in '57. Available on: Great stuff!

I can very much relate to what you're saying, Jim. I've never considered him an essential artist nor have I ever valued any of his recordings greatly (with the possible exception of my 1st Brubeck acquisition, a red vinyl Fantasy of JAZZ AT OBERLIN). Certainly his piano playing can often sound ponderous, subtlety not being his strong suit. Yet all these years later, I notice quite a substantial number of his records on the shelf. Is it due to the presence of Desmond on the vast majority of them? Possibly to some extent, but also I suspect because as you say, he's always been "sincere and aware" and his playing does communicate an essential honesty, and that's worth something. That, and once in awhile the essential thing in music occurs, I am moved.

Chuck! What a sour suggestion! Haven't you heard we've got to get out and support live jazz? I'm a Netflix subscriber so I can always stay home and watch something of interest. In any event, thanks one and all for your "help". I'm still undecided but it would be nice to run into you David (dsgtrane).

I've bought LPs with cut-off corners but never if the cut off is on the spine, only if the cut corner was on the open end of the jacket. I at least want my LPs to look "whole" while viewing the spines on the record shelves. I have to admit that even though I've bought such LPs in the past due to monetary considerations, my heart always sunk a bit whenever I saw a cut corner rather than a tiny drill hole, thinking "why do they have to mutilate the product in order to mark it for discount?"

Solution: you buy the individual box for the sake of completeness. You then make CD-R copies (for your own personal use, of course) of the individual sessions if that's how you prefer to listen to them. This is an especially good method for listening to the music in your car, the gym, wherever else outside the home because if you should lose one or more discs, they're easily replaceable from the source box which sits securely on a shelf at home. I've done this with quite a few box sets, especially for the Mosaics, each disc of which usually contains parts of multiple sessions.

Have we yet established that track #4 is a version of "For Dancers Only"?

March 17th. Not much else on this date, except the following: 1952, Don Byas Quartet with Art Simmons, Joe Benjamin & Bill Clarke; Paris: "Somebody Loves Me", "Riviera Blues" (aka "Blues a la Don"), "Laura" (from DON BYAS ON BLUE STAR - Emarcy). 1955, Joe Roland Quintet with Freddie Redd, Dick Garcia, Danny Martucci & Ron Jefferson, session completed on 3/18, released on: THE VIBRAPHONE PLAYERS OF BETHLEHEM, Vol. 2 (Bethlehem). 1956, Duke Ellington & Orch: "Feet Bone" & "Long Time Blues", (released on VOLUME ONE - STUDIO SESSIONS, CHICAGO 1956 -Saja).

Then you'l be hitting that next big wall (July for me) before I do! I already hit it. January 3rd.

While I take your point, I think all good music has value, whether it is high intensity or low key, and I get just as much satisfaction from the MJQ as I do from some of the more hard driving musicians. Yes, at a time in my life when I needed that intensity they didn't do it for me, but they certainly do now. Yeah, I know, I'm just an old geezer! jack Hey, I'm a couple of months older than you. We commiserated about this some time back when Tony W left the scene. As long as we can snap our fingers, we'll be OK.

Joe Farrell: FARRELL'S INFERNO (Jazz a la Carte, Vol. 4), quartet with Victor Feldman (p), Bob Magnussen (b), John Guerin (d). Recorded live at 'Pasquale's', Malibu CA, circa 1980.

Here in southeast Florida where there is a dearth of live jazz happening, I am presented with somewhat of a dilemma this coming Saturday eve. I can travel about 35 miles south to Fort Lauderdale and check out the Claudio Roditi-Kenny Drew Jr. Quartet at an event sponsored by South Florida Jazz of which I am a dues paying annual member. Or I can stay local and go to the very nearby Palm Beach Community College in Lake Worth and see the soemwhat iconoclastic vocalist Patricia Barber whose CDs I have indeed purchased. But come to think of it, I have a couple of Claudio CDs, as well as having seen and enjoyed Kenny Drew Jr. in a trio setting last year. What would you do? (Ticket prices are practically equivalent).

Hey Jack: The simple truth is that we're getting older and there increasingly is a time and a place for MJQ music, say Sunday morning at the breakfast table, reading the paper and having a bagel with a cup of coffee. Contrast this current state with my younger days when on a similar Sunday morning, I might be lying on the rug with a bagel and a cup of coffee next to me in constant danger of being absent-mindedly knocked over while I listened at high volume on headsets to Coltrane live in Seattle. B-)