jazzbo

Dusty Groove also has Nostalgie Moderne/Starburst for 15.99 at the moment. Hey if Early Records can get them for less than 16 dollars each and 3 to 5 dollars postage (depending on whether you buy one or two of them) then more power to them! But this is the best deal I've ever seen on these titles.

I like the use that Zawinul and Hancock and Corea did in the second half of the 'sixties and the first year or two of the 'seventies. And Sun Ra from about 1955 or so on. . . . And Duke on Capitol! I find it interesting after playing all three briefly to try to identify whether Fender Rhodes, RMI or Wurlitzers were used. I like the Wurlitzer and the RMI a lot!

ANYTHING by Mary Lou Williams is worth hearing, but you're right this one is a damned fine and I need to dig it out and spin it again. I believe you can order this on cdr from Smithsonian Folkways.

Paris Moods is currently (or rather was this weekend) available at Dusty Groove for 16 bucks!

SCARIEST SHIT OF ALL!

If so it must have been as in "This is some damned good CRAP!" ***insert toking sounds****

I haven't watched a football game in over thirty years, so I missed this. I wouldn't have been offended. I don't have children and if I did, I probably would have had some explaining to do and would have done it. I'm with you re: the puritanical aspect. What scares me most about this nation is the dishonesty of our business leaders and our politicians.

D, I'm glad you had a great time. There is a fantastic book which I'm sure you saw in the gift shop (???) that is an excellent resource for information about the house and has amazing photographs of Pops in and out of his home. I recommend the book that is probably easy to find discounted that is "Louis Armstrong: In His Own Words." It gives a sense of athe man similar to that you get from his music and I bet his house.

Dmitry, hopefully you will find a visit to the house fascinating. I'd love to see it one day! Although I would caution you to make sweeping judgments on his life based on this house!

The man was a frikkin' genius with laser beams. He not only revolutionized one genre of music but transformed the cornet/trumpet in general use, and galvanized pop vocals. AND on top of all that he was an amazing writer, and a visual artist as well. From my study of his life I've come to the conclusion that a large portion of the outward aimed joy was REAL. He felt he was in the world to entertain and spread joy and happiness. He certainly worked towards that goal with a lot of success. He had his frustrations, but he let them pass through him, he seemed to let them out. He took the stand he needed to take for his mental health; when it was vitally important, he let his rage out. He was full of passion for music, for his family and friends and countrymen and just plain people. With his gifts he did much to improve the world. I DON'T see him as a tragic figure.

Savoy/Denon also released an excellent cd of Bright's as a leader in their early-mid nineties series of reissues ("Bright's Spot") that you should keep your eye out for; may not be too hard to find.

I guess if I want to continue to convince myself that I don't need this Select because I have copies of everything on it I had best NOT LOOK AT THIS THREAD EVER EVER AGAIN!

Good news that the first three are due out soon (okay, not good news for the wallet!) and that the covers chosen for Masterpieces and Uptown are the ones that they are!

Fly? HELL, this might earn you a promotion! B)

Man, I had On the Corner on 8-track too and there were some CRAZY ride arounds of back roads goin' on with that. Also had Roland Kirk's "Domino".

Hey I hear he also produced the Joe Henderson box set! Oh wait a minute. . . he really did!

Oh heck, I didn't take any offense. Nor have I thought that Blue Note was anything better than most record labels for some time. They're businesses, they'r dealing with the harsh economic reality of our times in their way which I don't think is the best way but I don't make the decisions. I would just rather have the choices in these instances, so I figure if they give me options, I have better choices. . . . I'm going to look for the sliver of silver lining. . . .

I've never heard the TOCJ. I have the Connoisseur and I am not that fond of the sound. It's only marginally better than the Mosaic to my ears in my system, and I can imagine the RVG would be far more to my liking!

Hey I think I know that same "gent"! Yes, the Bainbridge/Time.

Hhmmmm. . . I think it's a mistake as well, but I'll be one of those with a hole in the head if it isn't: I'll buy one. I like RVGs much better than McMastered cds, and this session is one that I would like to have in the best sound.

I believe your memory is correct re: John Hammond!

Very interesting comments Anders! Thanks for sharing them. I haven't pulled this out and listened to it this week. I'm far more partial to the original live performances and the later "stockpile" recordings, but I do like this session from 1959 with Ms. Jackson on board. When I first started collecting Duke and marveling at BBandB I just could not understand the critical reaction that swirled around this and discouraged Duke so much that this work as a whole was hardly performed and so infrequently recorded since. I love this work, and realized how important it must have been to Duke at the time of it's debut. In my readings since then I've come to think that some of the critics were just grinding their own axes in putting the suite down. You know, they wouldn't ever say so but "I suggested that Duke hire a musician and he didn't and now here he has this really ambitious project and I don't like it." And indeed I can imagine that just hearing this in concert new and never heard before, and having it vanish into the air would not allow the most considered and reflected review. But I won't deny that there is a strong possibility that racism played a part. This was a continuation of Duke's building a library of works about the African American People, and was a work of pride and hope and it very well might have been a prejudice invoking action to present this suite in "classical" garb. Reaction to this work, and "Jump for Joy" could certainly have represented racist feelings among some of the detractors, the sort of covert and implied racism that was not uncommon then (and unfortunately one still finds now).

I consider it a fantastic album with a terrific band! B) Seriously, I haven't heard this in a while and I ought to pull it out and listen to it again soon. I really like this one, Max's band really does well supporting Tommy here as a featured artist. . . . It's good good stuff. I bought a new version of the Sonny Clark Trio on Time last year, a hybrid SACD, that sounded fantastic compared to any other version of that session I've ever heard, and I've thought of getting the Tommy Turrentine hybrid SACD too. . . . I bet it's a smart thing to do for the remastering. (I don't have an SACD player, but the Hoffman remastering is great on plain ole cd).

The new one on Savoy will be welcome. I think he's on target with his claims about attractive young white women singing jazz getting promotion at the expense of aged black male virtuosos. . . or almost any other group of jazz singer.

Cool---I thought you were kidding. But then again I corresponded with someone recently who was under the impression that Tom was the MODERATOR of the BN Board. . . he wasn't!