jazzbo

The Herbie Nichols box set is still available from Blue Note; it's a nice sounding release. I sold my copy a while back and kept the Mosaic instead, which has a different, longer booklet (though the booklet in the Blue Note version is quite good, with photos I've never seen elsewhere) and a slightly different sound (I think the piano sounds better on the Mosaic, the bass sounds better on the Blue Note, just a little bit though in both cases; done by different remastering engineers). HIGHLY RECOMMENDED. And as I say I think it's consistently brilliant work. I like the first 20 years of Blue Note the best really. I think Monk's and Hodes' and Bechet's work for the label come close to being that consistent, but not quite as pervasively as the Nichols. (That's how I've been feeling the last few years).

Happy Holidays Vic old friend! Not many of us have money any longer! Here's the discographic information from the website, and note the large number of great albums! (A) MEET THE JAZZTET: Art Farmer (tp), Curtis Fuller (tb), Benny Golson (ts), McCoy Tyner (p), Addison Farmer (b), Lex Humphries (d). Nola Penthouse Studios, February 6, 9 & 10, 1960 10017 Mox Nix 10018 Blues March 10019 Killer Joe 10020 I Remember Clifford 10021 Park Avenue Petite 10022 Avalon 10023 Easy Living 10024 It’s All Right With Me 10025 Serenata 10026 It Ain’t Necessarily So All titles issued on Argo LP 664 -1 spoken introduction by Benny Golson. _____________________________________________________ (B) THE JAZZTET – BIG CITY SOUNDS: Art Farmer (tp), Tom McIntosh (tb), Benny Golson (ts), Cedar Walton (p), Tommy Williams (b), Albert “Tootie” Heath (d). Nola Penthouse Studios, NYC, September 16, 19 & 20, 1960 10430 The Cool One 10431 My Funny Valentine 10432 Hi-Fly 10433 Con Alma 10434 Five Spot After Dark 10435 Blues On Down 10436 Wonder Why 10437 Bean Bag 10438 Lament All titles issued on Argo LP 672 _____________________________________ © THE ART FARMER QUARTET – ART: Art Farmer (tp), Tommy Flanagan (p), Tommy Williams (b), Albert “Tootie” Heath (d). Nola Penthouse Studios, NYC, September 21,22 & 23, 1960 10439 I’m A Fool To Want You 10440 Out Of The Past 10441 That Old Devil Called Love 10442 The Best Thing For You Is Me 10443 So Beats My Heart For You 10444 Goodbye, Old Girl 10445 Younger Than Springtime 10446 Who Cares? All titles issued on Argo LP 678 ___________________________________________ (D) BENNY GOLSON – TAKE A NUMBER FROM 1 TO 10: Benny Golson (ts). Nola Penthouse Studios, NYC, December 13, 1960 10575 You’re My Thrill add Tommy Williams (b): 10576 My Heart Belongs To Daddy add Albert “Tootie” Heath (d): 10577 The Best Thing For You Is Me add Cedar Walton (p): 10578 Impromptune Freddie Hubbard (tp), Benny Golson (ts), Cedar Walton (p), Tommy Williams (b), Albert “Tootie” Heath (d). Nola Penthouse Studios, NYC, December 14, 1960 10579 Little Karin add Curtis Fuller (tb): 10580 Swing It add Sahib Shihab (bari): 10581 I Fall In Love Too Easily Nick Travis (tp),Bill Elton (tb), Willie Ruff (Frh), Benny Golson, Hal McKusick (ts), Sol Schlinger (bari), Tommy Williams (b), Albert “Tootie” Heath (d). Nola Penthouse Studios, NYC, April 11, 1961 10582 Out Of This World add Bernie Glow (tp): 10583 The Touch add Art Famer (tp): 10584 Time all titles issued on Argo LP 681. ___________________________________________ (E) THE JAZZTET & JOHN LEWIS: Art Farmer (tp), Tom McIntosh (tb), Benny Golson (ts), Cedar Walton (p), Tommy Williams (b), Albert “Tootie” Heath (d), John Lewis (arr). Nola Penthouse Studios, NYC, December 20-21, 1960 & January 9, 1961 10626 Django 10627 Milano 10628 Bel 10629 Two Degrees East, Three Degrees West 10630 New York 19 10631 Odds Against Tomorrow All titles issued on Argo LP 684 __________________________________________ (F) THE JAZZTET AT BIRDHOUSE: Art Farmer (tp, flh), Tom McIntosh (tb), Benny Golson (ts), Cedar Walton (p), Tommy Williams (b), Albert “Tootie” Heath (d). Live at Birdhouse, Chicago, May 15, 1961 11208 Junction 11209 Farmer’s Market 11210 Darn That Dream 11211 Shutterbug 11212 ‘Round Midnight 11213 A November Afternoon all titles issued on Argo LP 688 _________________________________________ (G) THE ART FARMER QUARTET - PERCEPTION: Art Farmer (flh), Harold Mabern (p), Tommy Williams (b), Roy McCurdy (d). Nola Penthouse Studios, NYC, October 25, 26 & 27, 1961 11423 Blue Room 11424 Tonk 11425 Change Partners 11426 Nobody’s Heart 11427 Punsu 11428 The Day After 11429 Lullaby Of The Leaves 11430 Kayin’ All titles issued on Argo LP 738 ________________________________________ (H) THE JAZZTET-HERE AND NOW: Art Farmer (tp,flh), Grachan Moncur III (tb), Benny Golson (ts), Harold Mabern (p), Herbie Lewis (b), Roy McCurdy (d). Nola Penthouse Studios, NYC, February 28, 1962 23789 (PB7405) Just In Time 23790 (PB7406) Rue Prevail 23791 (PB7407) Ruby My Dear 23792 (PB7408) In Love In Vain (omit tb) Nola Penthouse Studios, NYC, March 2, 1962 23793 (PB7409) Sonny’s Back 23793 (6252-5) Sonny’s Back (45 take) Mercury 71942 23974 (PB7410) Whisper Not 23975 (PB7411) Richie’s Dilemma 23976 (PB7412) Tonk 23796 (6251-6) Tonk (45 take) Mercury 71942 Al titles except the 45 takes of Sonny’s Back and Tonk issued on Mercury SR 60698 ______________________________ (I) THE JAZZTET – ANOTHER GIT TOGETHER: Art Farmer (tp,flh), Grachan Moncur III (tb), Benny Golson (ts), Harold Mabern (p), Herbie Lewis (b), Roy McCurdy (d). Nola Penthouse Studios, NYC, May 28, 1962 26806 (PB 8162) Reggie 25545 (PB 8213) Another Git Together (45 take) Mercury 72029 25547 (PB 8215) This Nearly Was Mine Nola Penthouse Studios, NYC, June 21,1962 25556 (PB 8223) Domino 25563 (PB 8224) Another Git Together 25564 (PB 8225) Space Station 25565 (PB 8226) Along Came Betty All titles except the 45 take of Another Git Together issued on Mercury SR 60737 NOTE: The 45 version of Space Station on Mercury 72029 was given the master numbers 26160 (PB 8251), but is edited from the master take. _______________________________________________________________ (J) LISTEN TO ART FARMER AND THE ORCHESTRA: Art Farmer (flh) with (collective personnel) Ray Copeland, Rolf Ericson, Bernie Glow, Ernie Royal, Paul Serrano, Clark Terry, Snooky Young (tp), Jimmy Cleveland, Urbie Green, Tommy Mitchell (tb), Paul Faulise, Tony Studd (b tb), Ray Alonge, Jimmy Buffington. Bob Northern (Frh), Danny Bank, Ray Beckenstein, Phil Bodner, Walt Levinsky, Romeo Penque, Stan Webb, Phil Woods (reeds), Tommy Flanagan (p), Barry Galbraith, Jim Hall (g), George Duvivier (b), Charlie Persip (d), Ray Barretto, Willie Rodriguez (perc), Oliver Nelson (arr, cond). Webster Hall, NYC, August 10, 1962 26306 (PB 8048/PS 4008) My Romance Webster Hall, NYC, September 5, 1962 22159 (PB 8940/PS 1898) Rue Prevail 22160 (PB 8941/PS 1899) Raincheck 22161 (PB 8942/PS 1900) Street Of Dreams Webster Hall, NYC, September 20, 1962 22230 (PB 5121/PS 1930) Fly Me To The Moon (In Other Words) 22231 (PB 5122/PS 1931) Naima 22232 (PB 5123/PS 1932) Ruby 22269 (PB 5145/PS 1954) The Sweetest Sounds all titles issued on Mercury SR 60766 ______________________________ (K) THE BENNY GOLSON QUARTET – TURNING POINT: Benny Golson (ts), Wynton Kelly (p), Paul Chambers (b), Jimmy Cobb (d). NYC, October 30 & 31, November 1, 1962 22471 (PB 5293) Alone Together 22472 (PB 5294) Turning Point 22473 (PB 5295) Three Little Words 22474 (PB 5296) The Masquerade Is Over 22475 (PB 5297) Stella By Starlight 22476 (PB 5298) How Am I To Know? 22477 (PB 5299) Dear Kathy all titles issued on Mercury SR 20801 _______________________________________________________ (L) THE BENNY GOLSON QUARTET - FREE: Benny Golson (ts), Tommy Flanagan (p), Ron Carter (b), Arthur Taylor (d). The Van Gelder Studio, Englewood Cliffs, NJ, December 26, 1962 12081 My Romance 12082 Just By Myself 12083 Mad About The Boy 12084 Just In Time 12085 Sock Cha 12086 Shades Of Stein all titles issued on Argo LP 716 Original sessions produced by Hal Mooney (J), Esmond Edwards (L), Kay Norton and Jack Tracy (all others). Recording engineer: Ron Malo (F), Ray Hall (J), unknown (K), Rudy Van Gelder (L) and Tommy Nola (all others) Produced for release by Michael Cuscuna Tape transfers of Mercury sessions: Ellen Fitton Tape transfers of Argo sessions: Peter Doell Mastered using 24-bit resolution by Malcolm Addey at the Malcolm Addey Studio, New York City All other selections are stereo. All tracks courtesy of The Verve Music Group. This compilation (p)2004 Universal Music Enterprises, a Division of UMG Recordings Inc., Santa Monica, CA 90404-U.S.A. Manufactured by Universal Music Enterprises. Warning: All rights reserved. Unauthorized duplication is a violation of applicable laws. Printed in the U.S.A. (B0002403-02) ©2004 Mosaic Records L.L.C., 35 Melrose Place, Stamford, CT 06902. All rights reserved. Phone: 203-327-7111/Fax 203-323-3526/e-mail: info@mosaicrecords.com. Web site: www.mosaicrecords.com. PRODUCER’S NOTE: There are occasional instances of peak distortion and of drop out, most notably on disc one, tracks 4 and 8, disc three, track 4 and disc 4, track 6, which are the result of damage to the original tape. This set encompasses the Argo and Mercury sessions by Art Farmer and Benny Golson separately and as co-leaders of The Jazztet. In terms of repertoire and sidemen, they are all one inter-related body of work. For musical compatibility, we have programmed the set by group. The first four discs cover the original Jazztet’s entire output. Disc five contains both of Art Farmer’s quartet sessions for Argo. Disc six contains Benny Golson’s quartet sessions, made within eight weeks of each other, but for different labels. The final disc is given over to two very different ensemble albums.

I think believing a lot that is in Robert Reisner's book on Bird is not necessarily prudent. . .

That KD is quite cool! I like Jackie 2 better than Jackie 1. . . .

Goood one Jim! Looks as if Horace will win that race to me!

Hard . . .maybe my choice would be Herbie Nichols. All the takes of the sessions are successful if you ask me . . . just brilliant stuff.

I recommend the Daniels; I did not think the African-American was overdone myself. A good read, some facts that simply weren't anywhere else I'd encountered.

"Tube like" . . . . Audio descriptions are about as sensible in my opinion as wine-tasting language is. Both attempt to have a set group of words that mean something to everyone (in audio "tube-like," "liquidity," etc.) and both don't reach that goal by any means. (In my opinion; wine-tasting language just sounds like a bunch of subjective puffery to me, and I'm sure the audio does to others; in my opinion the audio doesn't serve its purpose because there is such a realm of difference between say a Marantz 8B tube amp, a Fisher tube receiver, a Cary 300B integrated and a Decware Select that the word can't mean anything!) I've heard two Rotel amps and neither sounded "tube-like" to me either. I really don't put much faith in customer reviews of audio products unless I happen to know something of the listeners tastes and experience with other audio products I may have some familiarity with. . . . After all the brouhaha that Greg stirred up internet wide about SACD I was expecting SACDs to sound better than they do. . . . They do sound very nice, but there's a reason they're a niche product. I would recommend purchasing a machine that gave what one personally considered excellent CD playback; a music lover is bound to have a lot more cds to listen to.

Verily: Yay Heavy and a bottle of bread!

Hey covers are right there, just need to be resized a little, they come out well on a halfway decent printer. . . . I wish liner notes were available too. But as I read less and less of these as time goes by that's less and less a big deal to me!

Bill, my disc player has been modified to completely bypass the stock output stage and has a powerful tubed output stage coming right off the DAC. It feeds directly two "single-ended" monoblock tubed amplifiers using EL34 tubes that are hand-built, star-grounded, only have one resistor and one capacitor in the signal path (the resistor is tied to a volume pot that allows you to use this without any preamp stage, thereby bypassing a whole lot of other parts and wire). My speakers are an unusual type with an inverted horizontal driver that disperses sound in a 360* radial pattern. The disc player, the amps and the speaker are all by the same designer and builder. All are designed to "get out of the way" of the music, and though that is an impossible task, they try hard. . . . Some time ago when I quit playing in bands I began to focus on musical playback in my home and trying to recreate music as realistically and musically as I could, and this has been an interesting journey. . . . A mixed blessing, but with some really marvelous listening along the way. Owning a vintage fifties stereo tube integrated opened my ears to tubes and their musical potential, and I became interested in "single-ended amplifiers" which were mostly too expensive for me to buy until I found Decware. I've also settled on Mapleshade Records brass cones, maple platforms and system rack, and power conditioning and interconnects and speaker cables by PS Audio, and the system really satisfies ME. It may not satisfy others. If interested, here is a link to the Decware catalog page: Decware Amps, Speakers and more

Hi Brad, yes, I've made a change because of the sonic change in my system. Not unusual really. I'm more interested in live recordings that were broadcast, new material I've never heard before, etc. than upgrading to "better sounding" discs because discs I've had sound really good now. . . ! Most SACD hybrids I've heard that can be listened to on a cd player have new remastering that sounds awful good on the cd layer. If you were going to pick up some hybrid SACDs I'd suggest grabbing the "Sonny Clark Trio" and the "Tommy Turrentine" on Audiophile Records (I think) which I have heard will not be available much longer. . . .

MANY MORE HAPPY RETURNS MR. HARRIS!

I like them both. . . I would just flip a coin.

Some new ones since I last looked! Going to have to get a way to download and burn eventually. . . . Looks like a good program.

I have about fifteen. My new tube-output SACD player makes my regular cds sound so flipping good that SACD doesn't seem like the big deal that I thought it would, and though I really like SACD I haven't been buying many. . . as there currently aren't many I don't already have in cd or other form that I want to buy. . . and I'm less interested in duplicating titles than ever.

THAT'S RIGHT NONE OF US DESERVE TO POST ON THIS THREAD! WE PROBABLY DON'T EVEN THINK YES WAS THE GREATEST! HELL YEAH

Yes, I saw that. I will get those at a later date. Probably through BMG. I'm not really buying many SACDs right now. Still have lots of titles new to me to corrall first.

Now wait a minute. .. that should be "Hell yeah!"---Aric Effron Credit due where credit is due. Coincedence? Hell Yeah!

Sorry I'm glad you like it but I don't think it would change my mind in any way. I'm just not a surround sound fan. And if I NEVER heard Dark Side of the Moon again in my life I'd be happy! Heard way too many times in the seventies and eighties . . . . Don't listen to Elton John either. Haven't even been curious to hear KOB in multichannel. Just doesn't interest me. I've heard some pretty impressive systems but still sounds gimmicky to ME. It's just me. I'm too much a purist for my own good.

Well, I don't mean to give the impression that I was not leaving room for anyone else. I'm just recommending from my experience as you are recommending from yours. I personally DO hear differences in wire, and in isolation components and stands, and power conditioning components and the lack of thereof as well. This happened along my tube journey. It's a bit maddening, but it is also thrilling; I'm glad to have this experience and the quest. But I fully believe that anyone should find their own journey in audio. If I were into multichannel I would probably also not go the Decware route, but multichannel just doesn't do it for me. I've never heard a setup that didn't sound processed to me outside of rare rare occurrences in a movie theater. I get an enveloping two channel set up with my speakers that has outshined home theaters I've heard so I'm only shooting for two channels. . . . I'm not one to watch many movies at home, so I don't have the need for more than two channels.

And I personally think that most of the players suffer from having output stages that just don't cut it for me. My amps and speakers reveal their failings. After hearing better implemented power supplies and tubed output stages everything seems more musical to me and I'll not buy a stock machine from Pioneer or Sony unless it's their flagships that are ridiculously expensive or to have it modified by someone who really knows what they are doing. If I hadn't heard a few great machines that have fantastic output sections (where the machine in my opinion is made or broken) I would feel diffferently. Of course I've also over the last decade moved fully into the tubed camp rather than solid state; for me there is no going back, and if there's a machine with a tube as a source compared to an IC or transistors I'm going to gravitate there. This machine, with its design that allows one to use either a 12AT7, 12AU7 or 12AX7 tube type really allows you to tailor the sound wonderfully to your room and tastes. I go back and forth between a Telefunken 12AT7 and a Mullard 12AX7 and am so glad I can.

I love Teddy Wilson's playing, it's got such an inner strength and a driving calm to it. . . . I need music like that in my life.

Not sure about dirt cheap! Dirt cheap in comparison to highend machines, sure. And I think great bang for the buck. It's the best machine I've ever had, but I haven't had megadollar machines. It does make cds sound wonderful though. The designer really knows his stuff, and he overbuilds power supplies which has great sonic benefits in the long run but does mean a long break in time. . . . Still, I'm very happy with this machine. I guess there's a chance that it is because it is a part of a system all built by this designer; system synergy is possibly a big factor. In fact I view my system as a triple one: I have all Decware source, amps and speakers; I have all Mapleshade isolation components (Samson rack, Isoblocks and maple platforms and Triplepoint brass "Cones") and I have all PS Audio cables (power, interconnect and speaker) and a PS Audio Power Plant. It's really shining lately; I'm enjoying the heck out of music! There are lots of other options I guess. . . .I just haven't heard that many SACD machines, and I really am sold on this builder after seven years of living with his products. One limiting factor is that SACD is not available in a DAC (yet?). If it were then there would be many transport and DAC combinations possible.