jazzbo

Once again, All Music on the web is for schitte.

From a site: Never Let Me Go brand-new CD (Blue Note TOCJ-9510) JAPAN.....$25 recorded on January 18 & February 13, 1963 limited LP style paper sleeve edition 24bit digiral remastering +1 bonus track 1. Trouble 2. God Bless The Child 3. Sara's Dance 4. Without A Song 5. Major's Minor 6. Never Let Me Go 7. You'll Never Get Away From Me 8. They Can't Take That Away From Me ..... bonus track

Una Mae Carlisle, "1941 to 1945"

Hmmm. . . there was a TOCJ cd without that track, and a JRVG WITH that track as a bonus. . . . Sure it was on the lp?

Nice photo! I like the Indo-Jazz fusions too. Pulled the Redial out recently when I started getting into the Bill Laswell Indo-techno-jazz whatever fusions.

Nice to see this thread. . . I need to dig out the Harriott I DO have and look in to some more.

It will probably sound better than the copy I have! Also, I'm one of those persons who think that a quality done transfer can make a big improvement, and K2s are quality transfers indeed. I've also heard that the Japanese cd (K2) is an improvement. The price is better on the domestic coming up. . . .

The Monk is going to be very welcome, I love this session and would like to have it in a K2 remastering!

I don't mind drinking buttermilk every now and then. I drank it first when I was in Swaziland, they sell it there like soft drinks believe it or not, sweetened with fruit juices, sort of like the yogurt drinks (keefer) here but NOT so sweet.

All good recommendations. I really like Paula Morelenbaum as well, and I want to explore at some point the work of another "Banda Nova" singer, Maucha Adnet, who I like in that Jobim band but haven't heard outside that band. And don't forget Ms Telles!

In my opinion Blue Note the contemporary label hasn't been BLUE NOTE since the lp releases that Cuscuna put out from the vaults. The reissue series I fully view as something else entirely. And it seems to be a separate entity in ways that Chris notes. Norah and Van and Al aren't a fit with what we may nostagically want Blue Note to be, but they're an evolutionary fit to my ears to the label, a fit to my ears understandable when looking at many another new release that Blue Note has put out in the last fifteen years. So the company has changed, so this isn't the same company that Al and Frank founded and led to glory. I've never viewed the releases from the digital age in that same way, never held them up to that standard, I guess I haven't because they're quite lacking to my ears for the most part. I long ago readjusted and don't equate the name with the glories of the past. If Riverside or Transition or Prestige had lasted til now, what would they be signing and promoting? Hard to say, but I wouldn't be too surprised if they too would court the success of a Norah Jones, or sign big names from the past that are sort genre-hopping such as Van or Al. . . .

Interesting John, the link you posit between Ornette's playing and Pres'. . . . I hear a ton of Bird in Ornette, which of course would mean a link back to Pres. I hadn't thought about that. Thanks for bringing it up.

The first Condon box is to my ears quite different than the Capitol box. The "dixieland" material in the Capitol does not have Condon's hand in its shaping, and Condon's Chicago Style is a different format than the predominantly Bob Crosby band member material in the Capitol box. Both are great boxes. . . the Capitol of course has a huge variety from big band bombast to very small unit filligree. . . .The Condon Columbia is also more recent recordings, stereo, from that beautiful studio Columbia used to use.

Sounds very good! Now if only Verve would reissue "Sweet Rain"---I've never heard that.

Peter, I sent you a private message re: John Jenkins, but got the dreade "Mail:Error" so let me know if you don't receive it.

I personally don't think that the "tuxedos" and other aspects of Santana's description necessarily mean that it cannot be a serious attempt at interpretation, or that it would feature "superficial crap."

Here's the online discography. 21 tracks with Pee Wee and 14 with Peanuts as mentioned above. CONDON MOB DISCO: It's a great set. If you go through Classics and other European labels the Freeman and some other sessions ARE on cd, but a lot of the later sessions aren't, more's the pity. One day I bet, after we've all bought the Mosaic.

I like all those guys, but Pee Wee is the one for me; what a mind!

You're welcome. Spin those Una Mae cds!

That IS all there is of these in the set. I believe that both are available, at least the masters, elsewhere, but I don't have details at the moment. I think I have both sessions on another release, but they sound considerably better on the Mosaic set. I don't have the time right now to hunt and peck I'm afraid.

Well, I may be in the minority here, but I think if Carlos really wanted to do this he could produce an interesting version of ALS. And I wouldn't mind if he did.

Well, I may be in the minority here, but I think if Carlos really wanted to do this he could produce an interesting version of ALS. And I wouldn't mind if he did.

Mosaic OWNS this material, and obviously they hired Phil to do the job they wanted: the complete material, not nipped and tucked. This seems to be their intent, commercially viable or not, aimed I guess AT the completist, which after all is not an unusual target audience for a company that puts "Complete" (true or NOT) in the title of most of their releases. So if this were Universal or EMI putting this out I think some of these points about deleting some parts of this are valid. As this is Mosaic's own material, and they are not excising bits and pieces, it seems to be their intention for this to be issued complete. I'm happy that it is! As mentioned elsewhere, there's plenty of other Bird for jazz fans to buy. I'm glad that this was issued just as it is. And when asked for opinions about the set, I have to say "I love you just the way you are". . . .

Well two points: from what I've browsed on that thread, the main focus seems to be contemporary avant garde music, which I have to admit I "get" very little of and don't spend much time with, and have little to talk about; I really don't yet have much of an opinion on the Lyons other than I like quite a bit of it a lot and will probably like all of it a lot in time. I really find myself with less and less to say about music, and more wanting the music to speak for itself. Lyons does that pretty well. So thanks for the invite but I don't see this as an appropriate place for me at the moment.

You are right about Bruce Dern. I think Berigan MIGHT LIKE Gertrude Stein. He might not like Jim Thompson, but Thompson is one of the scariest writers I've ever read (the books are so much better than the movies made from them too.) He puts you in the heads of these characters who then move like a blaze towards the rim of hell and you scream at them to stop and turn around but no they take you down to the fiery pits with them. . . . And once you've lived in the South and Southwest you can understand his characters in ways you don't if you don't/haven't. . . .