_forumlogo.png.a607ef20a6e0c299ab2aa6443aa1f32e.png)
Kevin Bresnahan
-
Posts
7,321 -
Joined
-
Last visited
-
Donations
0.00 USD
Content Type
Profiles
Forums
Events
Blogs
Posts posted by Kevin Bresnahan
-
-
I believe if this transaction had gone through, the only company being "stuck" would have been Mosaic. Unless it's changed, True Blue Music, Mosaic's retail arm, handles CD orders from the BN site.
Ed is right... it's at BMG and can be had for peanuts there. Anyone need a "referral" e-mail? I get 5 freebies if you sign up off of me.
Later,
Kevin
-
Bertrand, I gave Tom Evered's contact information to Guy so if there was a problem with royalties, they should be all straightened out. Guy did mention that Larry's brother has received royalty checks in the past for Larry's Arista LPs... not that they could have been big considering how poorly they sold.
Later,
Kevin
-
I know that there is already a "Larry Young Corner" but I felt this deserved a topic of it's own.
Thanks to BFrank's posting of the link to the New Jesery Star Ledger's story on Larry Young, I contacted the author, Guy Sterling, to find out if Larry's estate was in contact with Blue Note Records, as I had been told there had been a substantial amount of money in Larry's royalty account. In talking with Guy, I could tell that he was glad for my call. However, he sounded sadder than I expected when I complimented him on the article. After talking with him for a while, it came out why he was so melancholy about Larry. He mentioned how upsetting it was for him when he went to Larry's gravesite only to find there is no headstone. He's decided to do something about it.
He gave me permission to post about it here.
Here are the particulars:
WBGO-FM/Jazz Radio 88 in Newark is accepting contributions to defray the costs of putting a headstone on
Larry Young's grave. The station's address is:
WBGO/Jazz Radio 88
54 Park Place
Newark, NJ 07102
All checks should be made out to "WBGO/Larry Young Fund."
Guy specifically asked me to, "If possible, and for a couple of reasons, I would like to know about anyone making a contribution. One, I hope to write about this project and would like to give as much credit as I can. Also, I want to make certain all of the money that's contributed goes to the cause and that the headstone befits Larry's stature. It's OK for you to include my e-mail address with any posting."
Guy's e-mail address is: gsterling@starledger.com.
If there's anyway that you guys in Organissimo can head this way and give a benefit, I'd be there!
Later,
Kevin
-
Jim, I was talking to Michael Cuscuna about this recording and he thinks it's something coming from the bass amp... the bass amp resonating with a cymble? That sounds even weirder to me. It definitely seems to stop when drummer Charles Moffett stops hitting a cymble. Is it unusual for a bass generating output to couple so strongly with a cymble?
BTW, Michael said that if this disortion weren't present, he would have been able to release a ton more from this session. He says that it gets much worse on the stuff still in the can. Too bad... this is some great Ornette.
Later,
Kevin
-
Here are Dan Morgenstern's excellent liner notes to Bobby Jaspar's CD, Bobby Jaspar In Paris - Disques Swing CDSW-8413 issued in 1987 by DRG Records Inc. These are some of the best liners that I have ever read. I hope you guys enjoy them as much as I did.
Later,
Kevin
When Belgian-born Bobby Jarpar arrived in New York in the spring of 1956, very few foreign-born-and-raised jazz musicians had been able to establish themselves in the music’s homeland. Stan Hasselgaard might have managed, but sudden death intervened. His fellow Swede Rolf Ericson, who arrived the same year (1947), did well enough in the trumpet sections of some leading big bands but hardly became a household name. Toshiko Akiyoshi preceded Jaspar by three months but had just enrolled at Boston’s Berklee School. George Shearing, to be sure, was riding high, but he was an exception – and then, he wasn’t a horn player.
Jaspar’s main horn was the tenor sax, perhaps the most competitive of all jazz instruments in the post-bebop era. He’d taken up the flute in 1954 and was already one of the outstanding jazz practitioners on it, but this instrument had not yet fully established its position in jazz. It speaks volumes for Jaspar that within two months of his arrival he had been hired by J.J. Johnson as a permanent member of the great trombonist’s new quintet, alongside bassist Wilbur Little and two recent settlers from Detroit, Tommy Flanagan and Elvin Jones. (Bobby was so impressed with the young drummer that he wrote a perceptive piece about him for the French Magazine of Jazz Hot.) In the 1956 Down Beat Critic’s Poll, Jaspar was voted New Star on tenor. He was 30, and life must have seemed full of promise.
To be sure, there were some good things in store. After 15 months with Johnson, Jaspar has a brief stint with Miles Davis, no less – in between Sonny Rollins and John Coltrane. He does well as a free-lance, gigging and recording. There’s a successful European tour with Donald Byrd, Walter Davis Jr., Doug Watkins and Art Taylor, including three months at a Paris club and lots of reunions with old friends – from 1950 to 1955, Jaspar had been one of the City of Light’s leading resident jazzmen. Back in the States in early 1959, he continues to do well on the New York scene, where he prefers to stay, though there’s some touring with Chris Connor. Among the highlights are gigs with up-and-coming Bill Evans, and with Jimmy Raney, an old friend from Paris who’d insisted on recording with Bobby during a visit there in 1954, helping to establish the Belgian’s international reputation. There’s a short-lived “International Jazz Quartet” with Hungarian guitarist Atilla Zoller, Indonesian bassist Eddie De Haas, and American drummer G. T. Hogan, and a record date with his wife, singer-arranger-pianist Blossom Dearie; they remain good friends after their 1959 divorce. Back in Europe for an extended stay beginning in 1961, he impresses musicians and audiences with the strides he’s made, but it’s also clear to all who know him that he is not feeling well. After resting up, he joins forces with fellow Belgians René Thomas (guitar) and Benoit Quersin (bass), plus the brilliant Swiss drummer Daniel Mumair, They tour Europe to much acclaim, record in Italy with John Lewis and Chet Baker, and Bobby again takes up seriously his first instrument, the clarinet, also doubling on soprano and baritone. But not long after returning to New York he has a heart attack and is diagnosed as suffering from endocarditis. The disease and the attack have caused serious damage, and his sole and slim chance for survival, doctors say, is a bypass operation – a much more risky proposition then than now. He needs to rest for six months to gain sufficient strength to undergo the surgery. Knowing full well what confronts him, he retains the serenity of temperament that has endeared him to so many. The operation takes place on February 28, 1963 and requires 41 pints of blood. On March 4, two weeks past his 37th birthday, Bobby Jaspar dies.
As this album – never before issued in the United States, and long unavailable anywhere – amply documents, Bobby Jaspar was a musician of uncommon talent. In his formative years, he was strongly influenced by Don Byas, who settled in Europe in 1946. But he was also drawn to Lester Young’s conception, and then to Stan Getz and Zoot Sims and Lucky Thompson. But even before he settled in New York, Sonny Rollins had begun to make an impression on him, strengthened by what he heard after his arrival. Always a thinking musician, he had, by late 1956, melded these influences into a very attractive and personal style. On the flute, there were of course fewer role models, and when it comes to this instrument, Jaspar must be ranked at the very top, with a more virile and venturesome approach than customary in the pre-Eric Dolphy phase of jazz flute playing. His single appearance here on clarinet shows that he had mastered this difficult horn, not much favored in modern jazz contexts. On all his instruments, he speaks the language of jazz without a trace of foreign accent.
Jaspar was also a gifted arranger and composer, and one of his most appealing pieces is In A Little Provincial Town (a salute to Liège, where he was born). Tutti Frutti (also recorded on a 1957 Prestige session with Herbie Mann, on which Bobby carves his American colleague on both flute and tenor) and Clarinescapade are the other Jaspar originals here. Minor Drop is by Belgian pianist Francis Coppieters, an early musical associate, while They Look Alike stems from Manny Albam’s fertile pen. The remainder of the well-balanced program consists of first-rate standards and a bop classic, J. J. Johnson’s Wee Dot.
Two sessions, recorded eight days apart, are represented here. On the first, Jaspar is backed by two colleagues from the Johnson group and a ringer. Tommy Flanagan, still in the first year of his recording career, already displays the remarkable touch, impeccable taste and swinging sensitivity for which he’s long been cherished. Elvin Jones, not yet as audacious as he would become with and after Coltrane, is nevertheless his astonishing self. The ringer, with credentials including work with Charlie Parker, is the excellent Palestinian-born bassist Nabil Totah. The second date has a somewhat different flavor, mainly due to the added voice of Galbraith’s guitar. The guitarist, veteran bassist Milt Hinton, and drummer Osie Johnson were them often teamed in the studios and work hand-in-glove; Johnson’s sound and accents were his own. The presence of Eddie Costa (1930-62) is an added attraction. Equally accomplished on piano and vibes, Costa was a truly outstandingly gifted player, and he’s in fine fettle here. He and Jaspar would record together again on several occasions, but this is their most unfettered and mutually inspiring meeting.
Throughout. This music is consistently excellent, and it speaks for itself. Bobby’s tenor on I Won’t Dance is particularly nice, and it should be noted that he takes up the alto flute on Spring Is Here; somewhat larger than the customary soprano flute, it has a warmer sound, which Bobby explores to good advantage. But then, he was warm on all his horns. Thirty years after it was recorded, this fine memento of Bobby Jaspar’s brief career has finally found its way home. It should help us remember well a musician who had the courage to challenge the citadel of jazz and the resources to succeed – as long as fate allowed.
Dan Morgenstern
Director, Institute of Jazz Studies,
Rutgers University
(For details of Bobby Jaspar’s career, I gratefully acknowledge Edmond Devoghelaere’s definitive Bobby Jaspar: A biography, appreciation, record survey and complete discography – a labor of love – dm)
-
Many years ago, I was on a business trip to AT&T (now Lucent) in Murray Hill, NJ and while at lunch, I saw that they had a "vendor area" set up for employees. One of them had CDs for sale. I poked through the stacks and found this odd-looking thing: Bobby Jaspar with Tommy Flanagan - Nobil Totah - Barry Galbraith - Eddie Costa - Milt Hinton on the Disques Swing. It said "Recorded in New York 1956" on the cover and yet the CD's title is "Bobby Jaspar In Paris". On the back it says, "Originally released as French Columbia FPX 123 except for "Minor Drop" which was released as French Columbia ESDF 1142a". There are excellent liner notes by Dan Morgenstern which I will type up later today for everyone to read. They are wonderful. The disc was a whole $1!
A very nice disc. It sounds like JJ's band without JJ (which it basically was). Jaspar should have played more clarinet. He had a very nice sound on it.
One of the best $1 CDs... nah, make that the best $1 CDs I've ever found.
Later,
Kevin
-
I was a member for a while back in the early 90s and I was appalled at the lack of interest in any post-WW2 Jazz. I expected there to be at least a couple of people who had a similar interest but sadly found none. It's funny, I actually joined on Michael Cuscuna's advice. He said it might be a place where I could find people who had access to hard-to-find hard bop vinyl. It turned out to be quite untrue. They used to have a catalog of members with the name, address, phone number and "area of interest". I searched this thing for one person on my neck of the woods who might have even the slightest interest in my favorite, hard bop... no luck.
I would consider looking into it again if what Mike says is true. They did seem like a nice bunch of guys... they just didn't like to talk about the stuff I liked.
Later,
Kevin
-
Well, this is a very well timed thread!! I was just coming here to ask about these myself. You see, there's a local store that has a whole bunch of Bethlehem CDs in a special "2 for $10" rack. These are the late 90s remasters, not the Avenue Jazz ones. They have the Ellington which I was leaning towards and a Chris Conner that I've read is very good. How is the Charlie Persip date?
Later,
Kevin
-
The fact that Hunter released 7 recordings is a big hint about the timing of any artist parting ways with a label. That's the standard contract length. I figured this was the reason, so I gave Michael Cuscuna a call. Hunter's contract was up. This was the reason he's no longer on BN. The "parting of ways" was mutual. Hunter's contract was up and they talked a bit. Maybe BN didn't offer enough? Maybe Hunter wanted more? I don't know why, but they decided to let Hunter go and Hunter agreed.
BTW, I was able to extract one of the October Connoisseurs from Michael too. I'll have to post about that.
Later,
Kevin
-
Question for Jim:
Yesterday I got in a CD order with the two recently remastered Ornette Coleman dates "At the Golden Circle Vol. 1 & Vol. 2". Man, these sound like they were recorded yesterday. I was told they sounded good but these were still a suprise.
Anyway, there's a recording anomaly on these sessions that I was wondering if you could explain the cause (and effect?
). It's most noticeable on Volume 1 on the 2nd track, "Faces and Places". It's this "woooo-ooooooo" background noise. It's nearly constant and I've always thought this was a cymble artifact. The ride cymble maybe? If you know what I'm talking about, could you tell me what your best guess is causing it? Is it the mic, mic placement or rec levels? Does this have a "name" in recording circles? I find it prevalent in live recordings but it even seems to crop up in the studio.The main reason I ask is because I seem to have a bit of a hearing issue with it. It causes me this feeling like a bee is buzzing around my head (after a while). Very annoying... I can only imagine it's resonating on my slight case of tinnitus in my right ear. Hey, at least my ears don't start bleeding or anything.
Thanks,
Kevin
-
I know the guy's busy....but is he a one-man show? No interns...?"hey kid, sit down and listen to "Dialogue" like your life depends on it. Welcome to the music business."
All I know is I have a defective "Along Came John" and "Dialogue". Sure, I can send in a proof of purchase, boxtop and 50 cents with a self-addressed stamped envelope.... But that's not my point.
Now that I'm off the BNBB I feel a little more freedom to complain about their b.s. as a paying customer. Get it right Blue Note. Cuscuna or not. They're putting out a VERY limited amount of reissues per year. Someone can get the job done correctly. Excuses don't hold a lot of water in the business world. Blue Note should be no exception. Plus, they're not even "man" enough to recall their defective product!!! Bullshit for the unexpecting. Hallmarks of a company that doesn't give a rat's ass about their consumers. As they've so aptly shown in pre and post-Norah. I can see even less attention to detail on reissues now.
SS, man, you're posting with a bitter taste in your mouth and it shows. Chill out and stop looking to vent about the board's ugly death.
I cannot stress enough to you how much Michael Cuscuna cares about his work. He is just as upset at any screw-ups as you are.
You may not believe me or you may not care but I think it needs to be stressed that these mistakes have not nor have ever been "fluffed off" like the guys at Blue Note don't care. THEY DO CARE.
But I'll leave this discussion this way: SHIT HAPPENS!! (Man, I always wanted to type that at the Blue Note board) IT HAPPENS TO EVERYONE. Are you trying to tell me that you can honestly sit there and say you've never made a mistake at your work? Can anyone ever make that statement? Cuscuna and everyone at Blue Note are human beings. They make mistakes. If there are insufficient checks and balances, be it man or machine, those mistakes will slip through to the final product. It's part of life... just like Blue Note's fucked up way of killing their board.
Later,
Kevin
-
According to my notes, this is what Michael told me about these two Mosaic Selects:
The Complete Blue Note Recordings of Bennie Green – 3 CDs
All three of his albums as a leader ("Back On The Scene", "Soul Stirrin'" & "Walkin' and Talkin'"), the 45s session plus the parts of Ike Quebec's "Easy Living" that Bennie Plays on (the sextet stuff)
Randy Weston – 3 CDs
2 United Artists albums "Live at the 5 Spot" & "Little Niles" (the album "Destry Rides Again" will not be included per Randy’s request)
2 Roulette albums (one unissued)
"Piano a La Mode" from the Jubilee label
"African Highlife" from the Colpix label
Later,
Kevin
-
I think I'll pass on the Weston unless someone can change my mind. I bought "Uhuru Afrika/Highlife" disc and I hated it. Traded it in after a couple of listens. However, I love "African Cookbook" with that smokin' Booker Ervin so it's not like I hate everything he's done.
Later,
Kevin
-
I've been in Michael Cuscuna's office and seen all the shit he has to check out as reissue producer. I am not excusing him for the errors, it's his job to catch them all; however, I think he has too much to do for one man. The worst thing is that a lot of the errors are fixed and still get put out.
For instance, most of the graphical errors happen after he signs off. They piss him off tremendously! "Along Came John" is a perfect example. Michael gets these printer "proofs". They look like the cover but there's all kinds of colored bars on edge of the paper. He approves it and off it goes to the printer. However, he approves a hard copy and a soft copy goes to the printer. If the keeper of that soft copy sends the wrong file... you can see where this goes, right? Like I said, the end error is ultimately his fault: he's the producer. What should have happened is that he should have checked the first production batch of discs and fixed any errors but I get the feeling that he doesn't always do a lot of "post-release" checks. That's also why "Dialogue" got screwed up. It was obvious when you listened, but does everyone listen? I don't think so. I don't know how anyone in his position could possibly listen to all the pre-CD mastered DATs, review all the copy, listen to all the post-production samples and re-read all the liners etc. of every CD he's got a hand in. On top of that, he's still in the studio on occasion (supposedly with Blanchard for his BN debut) and he has a LIFE.
FWIW, I recently pleaded with Michael to send me some advance copies of these upcoming SACDs. I want to make sure these get done right. With their projected $20+ price tag, people are gonna scream bloody murder if they're screwed up. I like Michael and I'd like to help him avoid that if I can.
BTW, those "Booby Hutcherson" and "Bobby Hucherson" spelling errors as well as many of the recording date screw-ups (like the RVG of "Midnight Blue") are correct in Michael's files on his computer so the process of getting what he has on his computer over to the printers seems to be the process they need to fix, if you ask me.... Hmmm... they need a good computer guy.... Nah! They couldn't afford me!
Later,
Kevin
-
I checked out www.coolsavings.com and they appear to be a legit e-mail spammer i.e. someone submitted your e-mail address to them and the actually think you really want to receive them. Generally, I say to never let the spammers know you are "live" but in this case, you may want to poke around and see if you can opt out of these e-mails... I doubt it, but it's worth a try.
BTW, you may have submitted your e-mail somewhere that was affiliated with these slimeballs and not even known it. It's always worthwhile to check to see if they stuck some spyware on your machine to see if they had an "in". Go to http://www.lavasoft.de and download Ad-Aware. Do it now before it's too late!
Later,
Kevin
-
Oh God, no! How could anyone confuse a Varitone attachment with a bari sax!?! That's just nuts. AMG seems like they try to "bite off more than they can chew" if you ask me. There are always tons of errors and those errors are after they fix a bunch of earlier ones.
Later,
Kevin
-
Hey, if you think that's lame. Check out the AMG Reviews for Lou Donaldson's "The Scorpion, live at the Cadillac Club," and also I think it's "Pretty Things" mayabe another from that time.... Scott Yanow keeps talking about Lou's use of the Varitone as..."Donaldson plays BARITONE sax on these sides." What a COMPLETE idiot.
How do you get job reviewing for AMG??? He's horrible.
Are you sure Donaldson plays Baritone sax on "The Scorpion". I no longer own it, but I could swear that when I did, Lou played his alto with a Varitone attachment. If Lou's playing bari on this, I may have to give it another thought.
BTW, for the record, "Along Came John" has been officially out of print for many months already.
Later,
Kevin
-
I know Walter hates it when I refer to this essay he did on the rec.music.bluenote newsgroup many years ago, but it is germane to this discussion so here's the link: http://users.bestweb.net/~msnyder/avantgar...arde/avant1.htm
Check it out. BTW, Walt checks in over at Jazz Corner's Speakeasy on occassion. He's one of the nicer guys I used to chat with on rmb, back in the days before bulletin boards!
Man, was that already 10 years ago??Later,
Kevin
-
One of the big incentives to buy the sets is the "limited" aspect. If that policy really changes, I would think sales would decrease. I know I would probably have put off buying a set or two if I knew they would be issued again.
DB, these Mosaic sets showing up in stores count against the total contract. All they do is take stock out of Mosaics warehouse (or "back room" in this case), and stick them on retailers' shelves. The set is still "limited".
BTW, as I understand it, back a few years ago it was common practice for Japanese stores to carry Mosaic boxes. Back when the Yen was strong, they could buy them from Mosaic cheap and re-sell them with a huge markup. I read somewhere once that one store had a couple hundred sets of the Grant Green on their shelves... Sonny Clark is very big over there. Having these sets in retail stores can't be bad for Mosaic, they get the sale, even if it's to a big chain. Hey, if my pockets were deep enough, I'd buy a shitload of these things and stash them... of course, I know I wouldn't do it... I just wouldn't feel right speculating on Mosaics. But if I was rich, it would be hard not to buy a bunch. Maybe even just give them to libraries.
Later,
Kevin
-
I mentioned I another thread that I've been talking to Michael Cuscuna about "things Blue Note & Mosaic" and what I am hearing from him about how Blue Note feels about the board is very disappointing... and no, I am not going to be calling Tom any more about it.... well, maybe I won't. Anyhow, from Michael's comments, it seems that Blue Note isn't particularly worried. In fact, Michael still talks like the board was taken down to "improve" it. They are acting like the new board will open in May and all will click on over there like someone who just had a new house built. I have my doubts that anything they do will be that mind-boggling, but that's what I'm hearing from Michael. Are they simply that naive?? Maybe. Are we over-reacting to a redesigned board? Quite possibly. Is steve(thelil) really able to post with both hands... never mind.
I do have to add that getting mad is perfectly understandable... I gather that Blue Note isn't particularly worried about us. Has anyone ever gotten an e-mail from them about the whole fiasco?? I used to get e-mails every two weeks or so. We have been kept in the dark about this, that is certain.
However, I still see no reason to boycott Blue Note or Mosaic. I buy Blue Note CDs and Mosaic box sets for ME, not the company. If I boycott these record labels, I'm the only one being punished by preventing myself from hearing some great music. Blue Note has proved, to me at least, that my one or two CD per month habit means diddly-squat to them. Mosaic is a different story. They won't survive if enough core customers stop buying stuff. I don't equate Mosaic & Blue Note. They had absolutely nothing to do with what BN did to their board. I don't even think Cuscuna could have called them and asked them to do it differently. They didn't ask anyone, they just did it.
Sure, I am mad... I am also sad... I am also confused. You see, I have met Tom many times. I will continue to hold out some hope that Tom may let me know the whats and whys of what he did but as time moves on, it looks like I thought too highly of our relationship. I guess an electrical engineer with a fascination with Jazz doesn't place me too highly in the Rolodex of record label execs (sniff...
). Although, to plump up my ego a bit, Michael was just asking me what SACD player I recommended. Also, I have to say that I think Blue Note's reissue program is fine with me. They have and continue to have a successful way to get customers to buy their product. We went over this on the BN board a lot, but I'll ask again: If someone here, a Jazz fanatic, is standing in a CD store with $20 in their pocket with the intention of spending that $20 on one CD and they have one BN Connoisseur CD and one OJC "Limited Edition" CD in each hand, which one are you going to buy first (assuming that they are both high on your want list)? My answer is, and always has been, the Blue Note Connoisseur. I know that it ain't out forever. OJC's unlimited limited editions actually hurt their sales in my opinion.
Lastly, I do agree that the US policy on copyrights (75 years after the owner's death) is a bit rediculous. However, don't act like this only benefits the record labels!! The artists' estates get royalties the whole time a copyrighted performance is released and sold. Artists and/or their estates get diddly-squat when their work goes out of copyright and is sold. In a nutshell, Ike Quebec's estate got some money from BN Japan when they reissued Ike's 40's material. Ike's estate got nothing when Classics put it out.
Later,
Kevin
-
Ah... one of my favorite Stitt CDs.
I always thought this was a "CD Only" release? Isn't this disc almost 60 minutes long with 2 or 3 bonus cuts? Was it a 2 LP set?
"Sonny's Book" is one of my favorite blues tunes.
Later,
Kevin
-
A few years ago, the guys at Audiophile USA acquired about 30 or OOP Mosaic sets. They were all priced WAY under ebay prices, which back then were considerably lower than today's ebay prices.
Ed, I picked up the Buddy Defranco set, Lon got the Art Hodes, another friend of mine got the Ike Quebec 45's and I just, JUST missed the Quebec/Hardee!! I still have never seen the Quebec/Hardee on CD... probably never will.
BTW, I got the DeFranco set for $75. I was extremely happy at this purchase. I am suprised at how much I've enjoyed it, especially when I didn't expect to.
Later,
Kevin
-
I also tried putting up a couple of posts over at Jazz Corner. As usual, they got ignored. VERY cliquish over there I've found, though they seem to have welcomed Jim S. I've never gotten responses to my posts there, so it must be me. Oh well.
Ed,
Which threads did you post to over at Jazz Corner? I missed them myself!
I have always posted over at Jazz Corner... just not usually about Jazz. I usually post in The Alley and usually about wine (one of my other passions).
Later,
Kevin
-
The Three Baritone Saxophone might not have had Cuber intially but I am pretty sure that Cuber took a spot when they toured right after the CD came out. He has some nice recordings out on Steeplechase that are well worth picking up.
I finally got to hear those Xanadus in the past year. OK but not as good as the Steeplechase dates. Will Xanadu's catalog ever make CD? Better yet, will Bee Hive's?
Later,
Kevin
BMG Sale Corner
in Miscellaneous Music
Posted
Lovano's "Celebrating Sinatra" wouldn't stay in my CD rack even at $4.78 ($1.99 + $2.79 s&h). Yuck.
Shim's "Turbulant Flow" on the other hand is well worth that.
Later,
Kevin