MartyJazz

I have acquired a 5 CD compilation of big band recordings issued by the Smithsonian Collection of Recordings label. The full title is: "Big Band Renaissance: The Evolution of the Jazz Orchestra, the 1940s and Beyond". Unfortunately, all I have are the 5 discs, the backs of which identify the track titles, times (wrong in many cases) and the orchestra leaders. Very probably, these were issued in a box set which contained more information such as the complete personnel, recording dates and possibly, the titles of the original albums in which the individual tracks were issued. Anybody have this box set? And if so, can I get a photocopy of the booklet that probably came with it?

As a Rollins enthusiast and collector for some 40 years (in particular from his initial appearance on record through his Impulse recordings of the mid '60s), your sentence above serves to remind me of how great WORKTIME really is. For while I love the tracks you mention, my favorites from that session are Cole Porter's "It's All Right With Me" and Rollins' undeservedly neglected original "Paradox". On a sidenote, it has been remarked over the years how Rollins' live appearances have overshadowed his studio sessions, even though there is so much greatness strewn among the latter. I can attest that from 1972 through 1992, I saw Rollins perform an average of once a year. There were some occasions (I'm thinking of the Vanguard in '72, the Bottom Line circa '87) where no other jazz musician (and I was fortunate to have witnessed the playing of Trane, Dizzy, Monk, Mingus, and many other "giants') in my experience was so able to catapult an audience into such rapture and enjoyment, i.e., the proverbial "joint was jumpin'". He is truly one of the very greatest and I continue to be amazed at the lack of recognition accorded him outside of the jazz community.

As I'll be vacationing shortly in the Pacific Northwest, I'd appreciate recommendations for stores specializing in either used CDs or stores that have comprehensive jazz selection particularly in Portland, Seattle and Vancouver. Thanks.

Please don't misunderstand what I'm about to write. I like Marsh, have several LPs by him, a few CDs, but in all honesty I am not a Marsh "collector" and therefore am not likely to purchase the 3 you mention, the purchase of which would support a producer who you claim is a "criminal". However, jazz fans, especially those who frequent a board like Organissimo, tend to be collectors of one or more jazz musicians or particular styles of jazz. Asking those particular collectors of Marsh or Tristano-influenced jazz to not purchase the 3 CDs in question is a waste of time, IMO. We collectors don't purchase the CDs, LPs, videos, etc., with the idea of enriching anyone. We purchase the output of a particular artist, simply put, because we have GOT to have it. Nothing pisses us off more than to see an album we've been thinking about purchasing go out of print, be hard to obtain, and then surface on some dealer's list or eBay at an exorbitant price. The pain we endure at this occurrence is greatly exacerbated the more we tend to value the artist, each of us saying to ourselves repeatedly, "how could I have let that one (or 3 in this case) pass me by"? We rationalize these purchases of bootleg or questionably produced material by assuring ourselves that we've purchased all the legitimate product by the artist. Surely he, whether he is still living or not, would not begrudge us this pleasure of having more of his output. That's the way it is.

I've got all the Wallace CDs you mention except the first one, "Full Metal Jacket". What label is that on? Who's on it? Thanks.

I have an extra box set if anyone is interested (long story as to how I came about it). Was just about to offer it to Ralphie Boy who initiated this post when I noticed that he posted back in May of last year. Presumably he's copped it by now.

The Tokyo concert has always been one of my favorite Miles sessions from the mid '60s. Miles is in great form and Sam sounds terrific IMO. The version of "All of You" that closes the concert gives me goosebumps every time I hear it, especially when Sam briefly takes it out and then comes right back in. If in fact Miles really didn't dig Sam's playing, I'm at a loss to understand why. Also, I think the version of "So What" to open the concert is a killer.

Finally got a clean disc yesterday after getting a defective earlier copy (thanks to Big Al for getting the replacement to me so quickly.) Am mystified by most of what I've heard except for identifying a few song titles as has already been done. Love the version of "Solar" (track #13) but DK who it is other than hearing the apparent influences of Evans (this is taken at a much faster tempo than Bill would have done) and Corea. Regarding #7, yes of course that's Bennie Wallace as has been id'd. The track's title is "Blues Yamashita" from this album (Have all of Bennie's stuff so this one wasn't difficult).

So there it is - even more evidence that as far as Sam River's was concerned the reason he did not remain with Miles is simply that he was viewed all along by Miles as simply a stop-gap until Wayne Shorter became available. That also backs my recollection of Sam telling me that he was enthusiastic about hooking up with Andrew Hill thereafter. Thanks for that post.

I have a video of that group off of some PBS channel quite a few years ago.

WTF does that astrological stuff have to do with anything? I do believe that it was a combination of personalities, Miles' tastes and Miles' desire for Wayne that was at the core of Rivers' short lived tenure with the group. Regarding Miles' highly subjective tastes, all one has to do is look at his very outspoken opinions of various musicians' efforts during a few earlier blindfold tests conducted by Leonard Feather. He could be extremely critical, knocking Eric Dolphy, the one time collaboration of Duke with Max and Mingus, etc. It is quite probable that he didn't take to Rivers' pushing of the envelope, e.g., Sam's great (to my ears anyway) solo on "All of You" from the Japanese CBS release of the July '64 Tokyo concert.

I have this tune in my head, "Little Debbie Does Little Dallas" but I can't remember the lyrics.

Harkit Records which is issuing private recordings from the Ronnie Scott Club has a Sonny Rollins - Live in London CD among its recent scheduled releases. This should have the tracks you list. Harkit has recently issued albums by Bill Evans, Stan Getz, Jay Jay Johnson and others at Ronnie Scott's.

I was fortunate enough to be quite friendly with Sam back in the mid '70s when he presided over numerous concerts at his Studio Rivbea in the east Village. On one occasion circa the summer of '74, I mentioned to Sam that I had just received an open reel dub of a concert he had done with Miles back in July '64. He said that it had been released on Japanese CBS. I replied, no, that this was the Kyoto concert held the following evening. His eyes opened wide and he asked if he could come over to my place to hear it with his wife, Bea. "Of course", instantly realizing that this would be one of life's high moments of existence. Well, he and Bea did come over on a Saturday afternoon. We proceeded to "light up", and as I played the open reel tape, I dubbed it onto a 2nd open reel to give to him. Needless to say, it was a memorable day and I particularly recall his & Bea's enjoyment of the "Oleo" track. To get to the point of this thread, I asked him why his stint with Miles was so short. He didn't reveal much other than to say that he was enthusiastic about hooking up with Andrew Hill shortly thereafter.

Recently was diagnosed with esophagitis (frequently caused by backflow of acid-containing fluid from the stomach to the esophagus which can cause the tissues to become inflamed and can occasionally cause ulcers). Among other things, the doctor advised to cut out caffeine. Forget it. I rely solely on the medication (Prevacid) to control the reflux. Every day, I drink 2 hearty mugs of dark French roast in the morning and one similarly sized mug of Earl Grey tea after dinner. Won't give up this indulgence. I walk around in a fog and develop quite a headache without my caffeine fix.

What a hip dad you have! I visited mine very recently and caught him watching an old Lawrence Welk rerun. I thought I raised him well, where did I go wrong?

Can't help you but please indulge me for taking this moment to promote the use of a gym for cardio activity: 1) Watching the beautiful bodies (whichever gender turns you on) while you're pedaling in a fixed position that allows you to concentrate visually; 2) Listening to your favorite jazz via the headset attached to your CD player undisturbed by any sudden phone calls (unless you're foolish enough to clip your cell phone to your shorts); 3) Because you've taken the trouble to travel to the gym, you are more likely to maximize the time spent on the equipment than if you were at home where any disturbance or distraction can throw you off your workout objective; 4) No extraneous equipment in the house taking up space and debeautifying your home; 5) No maintenance of the equipment. Obviously, I do quite a bit of cardio at my local gym which is about a mile and a half away and very inexpensive also. But here's wishing you good luck if your heart's set on getting your own equipment.

Marshall McLuhan: THE MEDIA IS THE MESSAGE

Original host for Hollywood Squares: Peter Marshall

"Now watch this drive".

Great seeing all this commentary. Would love to add to it. But thus far, I've yet to receive my disc. What's up?

Well, I guess I'm not the demographic they're looking to please (in my late '50s). Took my wife and 12 year old daughter and wound up begging out within the first 45 mins. (Took in the first hour of "The Terminal" within the multiplex before my wife buzzed me to meet them outside). Don't know where to begin with the reasons I hated Spidey 2. SPOILERS I'm willing to suspend disbelief but don't tell me early on that an office has to order pizza from a pizzeria 44 blocks away in a crowded city. What is that about? Or that PP has to scrounge for bucks with the super powers he's got. I mean can't he find a way to make some bucks legally utilizing that advantage, shouldn't be too difficult. Or that KD's character, a successful actress in what appears to be a Broadway production, has her heart set on this vacillating nerd of a delivery man. How about Doc Ock whipping around an 80+ year old woman who survives this heart attack-inducing frenzy simply because she avoids being slammed into a building? Why is Molina's Doc Ock suddenly evil because he can't control his invention? Finally, how can normally intelligent people watch this shit at length? As for Roger Ebert''s 4 star rating and two thumbs up, someone ought to break his thumbs already.