Bill Nelson

I'm afraid BeBop has left us clutching the abstract concepts of the act of finding vs. the art of receiving. Okay, there's plenty of Zen and Taoist takes on this. "He who is controlled by objects loses possession of his inner self." And, "When an archer shoots for nothing -- he has all his skill If he shoots for a prize of gold -- he goes blind" (the above courtesy of Thomas Merton, 'The Way of Chuang Tzu') Still, for the benefit of us in the Western world, it'd be nice to visualize the object of BeBop's 35-year search. We could better appreciate the energy he expended -- and compare it to our own.

BeBop: "I was a bit surprised that more people didn't have tales of the long quest." Well, BeBop, you were coy and disingenuous in setting us up with your 35-year search for an LP you refused to name. It's hard for us to identify with your constant struggle to obtain something so rare that, upon finding a copy, it's too horrible for you to mention. Don't blame us for bailing out from your thread when you give us nothing to go on.

Did Buddy ever mention Elvin in a DownBeat interview or Blindfold Test? (He sure let us know what he thought of Ginger Baker!)

Likewise with me! First of all, the serendipity factor increases greatly in venues which are NOT primarily music-based. What you see is what came in the door -- as is. No wiseguys to siphon off the $20-plus items they'll immediately cross-check via price guides and Ebay's auctions of the past 30 days. No wiseguys to 'clean up' the vinyl by spraying it with Glass Plus or swabbing it with ethyl or isopropyl alcohol, or maybe some benzene from the back room. No wiseguys to set aside the 'good stuff' for their best customers or buddys. No wiseguys to treat you rudely and sneer at your purchases. None of the usual wiseguys and jerks, period. Also, since the vinyl is not obviously stored in genuine record bins, you really have to hunt, use your eyes, wander the premises, and ask questions. There's no telling where you'll end up and what you'll find along the way. Almost a Zen experience. And no wiseguys!

Or call for 'Let's Face the Music and Dance'. Robert H. can pursue his personal self-censorship on the Org. all he wants. It's his plea that the rest of us 'tone it down' for the phantom industry insiders lurking on the site and making their executive decisions based on the rants and raves. Robert, you have a most vivid imagination in this regard.

Sorry, but y'all weren't quick enough. 'Last Chance' on this just ended!

Cool it, Brighty. Perhaps you don't realize how insistent you are. Look it up yourself. We've got better things to do with OUR TIME than to search-n-dissect Russell's hazy yarns to save YOUR TIME.

"Shrinkage? Doesn't it Bother You?" Yeah, like when it makes my record jackets buckle, then I'll remove...

Yep, I'm also betting the Elvin is the next to go 'Running Low'. Xmas may be a little late this year. Good thing my birthday's in late August. Fortunately (and inexplicably) most of Elvin's Blue Notes are no longer available as single CDs. Otherwise, one must look to Japan, right?

Let me pose a question to the 'free marketeers' of this thread: Would you have a problem if a single buyer/dealer acquired ALL 5,000 copies of a never-again licensed Mosaic set of a modern jazz artist? And, if this buyer placed 10 copies on Ebay each week to the highest bidder? Then let's cut-out the middleman and go one step further: If profit-maximization is all that matters, then why should Mosaic bother selling direct to the public at a fixed price when it can have them bid at auction? The return on investment would be to the direct benefit of Mosaic stockholders. Isn't this the essence of the 'free-market' model you are defending?

Ordered mine today, also. Afterwards, I was told, "We're selling about 30 every day now." Given the parameters, it looks like this window should close by Saturday.

This site sure beats having a buncha you'se over my house. This way, my house won't stink, the carpet stays clean, and I'm the only one hitting the scotch, gin, and vodka. Best of all, I don't have to watch y'all pawing my rekkids while exhorting,"Hey dude, it ain't for sale or trade, alright?"

Why the mono fixation? Has the stereo been futzed-up? I recently got a stereo OJC 'endangered' CD which sounds just fine. 'Dream' is a surprisingly creative date, highly recommended. (Surely to be doomed to extinction by Concord/Universal.)

Surely Francis could slug it out with the Nippon big boys, write a summary of the bidding warfare, and submit a voucher for his winnings to the 'Voice' as a business expense. The rest of us learned that trick years ago.

I deliberately keep small piles of vinyl 'to be cleaned' and vinyl-n-CD's 'to be played'. Just seeing and knowing there's stacks to be processed keeps my index finger from getting 'trigger-happy' and taking my credit card on a 'whing-ding'.

Chuck Nessa: "Why do you trust Steve Hoffman?" Well, how 'bout cause he's got no vested interest in 200-gram vinyl product. In fact, Steve's politely kept his distance from Classic and their wrong-headed 200-gram Q-slabs. Hoffman has flat-out said you cannot properly manufacture audiophile vinyl at the 200-gram level, period. As in, don't buy it or else you're asking for trouble. Comparing Classic 200's with the brilliant sound of Steve's 180-gram DCC pressings is why I trust Hoffman.

My Mobile Fidelity aluminum CD (MFCD-809) just has the 'standard 8' even though it was made by Sanyo in Japan @ 1987. The original engineering of Roy DuNann can't be beat. (Nevertheless, I don't expect to spring for the 3 extra tracks.)

For those who'd like to hear a 19-minute interview with Bob Farnon, BBC Radio 3 did an interview with 'the Guv' two years ago. Thru 5/3, it'll be available on DJ Brian Kay's 'Light Programme' website: http://www.bbc.co.uk/radio3/bklp

A Yankee Punter Takes A Holiday The thought of flying to Britain and proceeding to a dingy storage unit to peer at more than 6,000 VG-to-VG+ 12-inch singles, LPs, and 45s...I can hear it now: "Oi, I thought YOU were bringing the flashlight, mate." "Well, fortunately the thatched roof is giving us some light."

Jim, we seem to be getting a busy signal from your dial-up connection. Operators are standing by.

On comparing Riddle with Farnon -- The short answer is,"They're not even on the same level." Not counting Sinatra, I've got 10 Riddle albums. And while they're enjoyable, bouncy, and swinging, NOT ONCE have I lifted the tonearm and place it back down to find the answer to,"How the hell did he do THAT?" As I'm not a writer or player, I'll have to opt out of the technical explanations. Phil might well respond with,"Sent you a PM." As he said,"I've been intensely studying Bob (Farnon) for 40 years."

I know what you're talking about, Phil. Let's tip those who might enjoy Farnon's finest 'classical' recording: Reference Recordings RR-47CD 'Robert Farnon: Concert Works (1992, DDD) Robert Farnon with the Royal Philharmonic Orchestra Recorded August 13-14, 1991 at Watford Town Hall, London, England featuring the Suite from 'Captain Horatio Hornblower' with 'Lady Barbara' Of all the arrangers we've mentioned, perhaps Claus Ogerman came the closest to this plateau of achievement in his recording with the London Symphony Orch. performing his 'Preludio & Chant', 'Elegia' and 'Symphonic Dances' (1988, DDD, on MFSL).

We shall pity Dmitry, proceed with the topic thread, and continue to praise Robert Farnon. He was excellent with a swinging big band but UNRIVALED with an orchestra -- his true medium. I've already posted about the subtle (to the point of) devastating complexity of his arranging. But let me quote from the AMG site: "In addition to its melodic content, Farnon's music is noted for its deceptively complex internal structure, which makes it as interesting as it is attractive." Please note the lack of pretense and overt self-attention in Farnon's writing. This sublime talent reduced the pool of top arrangers to a gallery effusive in their praise. "Robert Farnon is the greatest string writier in the world," as Andre Previn said. I've read how Johnny Mandel, Quincy Jones, and John Williams were equally awestruck by Farnon while developing and honing their skills. Let me recommend some earlier albums (the two on Philips with Quincy as Music Director and Producer): Philips 600-038 'The Sensuous Strings of Robert Farnon' (1963) Philips 600-098 'The Captain From Castile' (1964) MPS/Pausa 7116 George Shearing Trio w/ Farnon Orch. 'On Target' (1979-80) MPS-22335 Singers Unlimited w/ Farnon Orch. 'Sentimental Journey' (1974) about which Gene Lees wrote,"It's difficult to imagine how one can improve on perfection. But they've done it." We're talking about the art of arranging at the highest level. Within each tune, the keen listener will continuously be rewarded by Farnon's interfacing sectional music petals which slowly progress to reveal a most beautiful flower.

Of the two Nelson Riddle MPS albums, 'Communication' has the edge over 'Changing Colors' -- it's a much more solidly arranged affair. ('Colors' has a couple tracks which are certified clinkers.)

RE: Dmitry on J.J. Johnson's 'Tangence' , (quote) "I'd say there were dozens of arrangers whose music I prefer to his (Farnon)." Your ignorance on the art of jazz arranging is on full display. Recording with Farnon in '94 had to be J.J.'s last dream fulfilled. The Farnon arrangements are devastating in their complexity and voicings. Dmitry, I can only hope someday you'll 'get it'.