jazzbo

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!

You're kidding right? He was not charged with looking after us on the BN board, we were just a temporary diversion he allowed himself. I am not sure that he wasn't a senior VP at that time with BN.

I chose the electric bill. Electricity is needed to spin all your other cds. Without electricity. . . . We don't want to go there.

There is a certain sameness to the set, I have to admit. But it is a treasure trove! I usually only listen to a half a disc or a disc at a time. . .but that is the way it is with me with any artist. And the Hodges, and the Webster, and the Brown, and the. . . well everyone on her kicks butt and plays the blues and gets that Hodges groove and sound out there!

Today I received "Sings Irving Berlin" from an ebay purchase. Not essential, but very relaxing and mellow. . . . Helen singing is clearly the intent; on this cd release no accompanists are even listed. Sound surprised me; this is a very early cd but rich, relaxed and not at all strident sound.

Of those I would say target the Candoli, the Costa and/or the Harper.

I have a lot of these, and really like them. The Oscar Moore, the Eddie Costa and the Pepper Adams probably get the most play. . . .

Details for this material are here: http://www.originjazz.com/ Yes, all the Bix material in the Mosaic will be also in the Sunbeam/Bix Restored volumes; these 12 cds have it ALL. The sound is EXCELLENT. The notes are good to very good. This is the way I went with the material after other methods were started. . . . I treasure all four of my three cd volumes.

Here is the website for the Bix Restored cds: http://www.originjazz.com/

Or there are four three cd sets on the Bix Restored label that reissue all his work chronologically. . . the first set may be the best (the second may be the best too) and would make a nice purchase: best sound available in my opinion for this material and good notes too. . . . In this manner you can slowly get the sets sequentially if you really are digging Bix (I have a feeling you will.)

I have a lot of King Jazz cds. . . they're very good content wise, but they are very early digital and suffer a bit from edgy sound. . . . Really I don't think this new label has any valid connection to the Mezzrow label, but I could be wrong. These have not been produced for many moons, and are very hard to find these days. In most cases the material is now out in better sounding editions though I still have been keeping the King Jazz cds in cases where I have the others; I feel sentimental to them as they helped me to discover some great music!

They look like the Verve by Request, the new Impulse are the same way.

The Japanese cds are COOL. Nice sound!