jazzbo

I've always felt that to be the case that Duke used vocalists as instrumental colors as much as obligatory additions to a working band. I dig Hibbler, probably easily acquired the taste. . . . I don't know, he's just rich and deep and bold sounding. Like Harry Carney crossed with Hodges' tricks more than anything. Bird dug him as a person! Joya Sherrill was the one I thought that was most a real vocalist (after Ivie and Jeffries), and still served as the instrument for Duke. (And what a BABE!) And Alice too; I really want to get stuff by Alice outside of Duke and there are a few Ducal things with Alice I want still.

Jim, as you may remember, I have similar problems with my Philips burner. I don't believe that the HK guy really knows what he is talking about. One reason is that I sincerely believe that in my burner color DOES make a difference. Blue died cds simply don't work any longer. Period. Silver (well really GREEN) such as Mitsui and Fuji can. . .but the only ones that consistently (okay about 80% of the time) work are Mitsui and KLONE (made by Mitsui) and even then I get spindles of these that won't consistently finalize. Really I ought to toss the thing in the trash hamper. I bought another older cheaper Philips single well cd burner off ebay that worked fine. . .until a label on a cdr came off and gummed it up . . . removing the label removed a white clamplike thang that I can't get back in. Sheesh. I don't know the answer. I bought an Alera Technologies standalone PC burner that usually performs flawlessly, but I can't do analog transfers on it. . . . .So for the meantime I go through the iffy chancy frustrating Philips process for those. Seems like your burner is about as frustrating as sending you an email is! I've almost given up on that lately as my last messages haven't made it I think!

Man when John is scattin' and hummin' and verbalizin' away while bass solos goes on. . . it's magical!

Well, I'm a big Hibbler fan. Go figure!

I like music too doq, and like it to sound as good as possible.

My dad's copy of Uptown was an adolescent discovery, and I've had all this material on cd for some time thanks to the Columbia cd and the French 1947 to 1952 five cd set that I spent all my amd money on a logn time ago and I am so glad I did. . . . B u t the stuff has never sounded like this. I think the sound on this is phenomenal.

It contains what the lp did and also includes the Liberian Suite. Skin Deep The Mooche Take the A Train A Tone Parallel to Harlem Perdido The Controversial Suite: Before My Time/Later The Liberian Suite: I Like the Sunrise Dance No. 1 Dance No. 2 Dance No. 3 Dance No. 4 Dance No. 5

Jazzdoq, maybe we make too much of it. Maybe it's the curse of a good stereo. . . Addeys and RVGs sound so much better to me that I can't help wanting these comared to the not as good McMasters when I pays my money!

Man, I love those Audis. . . first time I saw one I stopped in my tracks and my wife laughed! Peter, yeah, those big old tractor-like Beemers. . . just nothing like 'em!

Yeah, but just on the Mulligan, not the Selects. . . dabnabbit!

I'm listening to a borrowed advance copy (sleeve version, no booklet etc.) of Ellington's "Uptown." DAMNIT THIS IS GOING TO BE A FANTASTIC RELEASE! The sound is excellent. I put on one of my favorites from this time period included here, "I Like the Sunrise" and it sounded as if a larger than life Al Hibbler were singing in my living room! Whenever this one comes out, seriously consider grabbing it! (Not sure they'll use this cover.) How does such a huge sound come from this guy? One of the mysteries of the universe!

Yeah, "Oh Baby". . . one of the best Blue Notes of its day.

Hey, Bob Belden is pretty darned proud of this set that he produced! I know I'll buy it. I actually think I might like this more than the lp itself, which was not one of my favorites. The material from this that HAS come out besides the lp I really do enjoy, have had for years and learned to dig it. I'm psyched! Now bring on the Cellar Door sets!

This was my real love though. . .had a bike just like this one for about nine years and many many many miles. . . just this bike, no car til the final two years (the Belair wagon). My wife gave me an ultimatum: I could live with her or I could have the bike. I THINK I made the right choice, living with and then marrying her. BUT the bike remains in my garage. . . for thirteen years now, gathering dust, but it makes me feel better knowing it's there!

That 1998 Jag looks a lot like an Alfa Romeo model from 1965 or so. . . beautiful cars (both of them). The favorite cars I ever owned, in the seventies, were a 1967 Camaro (didn't look great but ran great and was the closest thing to an Italian car I ever had before I had an Italian car!) and then a 1964 Alfa Romeo Spyder. This was a great car, it had been uglified for racing (i.e. bumpers removed and replace with homemade, etc.) but man a beautiful handling and riding convertible with a detachable hardtop that I loved to drive, drove it cross country several times, and it was a great car. I replaced that with a series of motorcycles, and then my final car was a 1966 Belair wagon, so I could haul drums around, straight six with three on the tree. Still have that one though it hasn't been running in about four years and is now mainly a storage space. A real trooper of a car!

I think I like these covers better than the others too. . .maybe they're getting better?

Cool. I like this one! I wasn't sure what to think about the Patton at first. . . but looking at the albums covered, you know it looks like it works!

I guess I like Wolff's contemplative photo side, as this one is also a favorite (and I'm now far enough along in my not-smoking that I don't want to light one up when I stare at it!)

Yeah, I know what you mean. . . and Malcolm Addey is doing remasters on the Mulligan set so I know how good it will sound. . . .

New Selects

At least twice! I think only twice. . . . But I'm not an artwork fiend or connoisseur.

This is one of my favorites. It just seems to capture the lyrical quiet core to this man's fiery sounds, and the time period as well. . . .

Gosh it's been too long since I listened to this session (while eating a can of Wolf Brand chile.) It's one of my favorites of his Impulses! because I think he WORKED on this puppy long and hard in preparation. It was the big shot you know! And there was some love in there too for Trane who had been a support and a catalyst and guide in some ways to the music and the biz. The arrangements are what does this for me. Excellent stuff, striding the free and the less so very well, putting the soloists right where they need to be. And they also serve as a vehicle for Shepp's "acting." I view Shepp as an actor for the most part, especially during these Impulse! years. . . . He puts drama, maybe melodrama, into the material with his sound, his notes, his swaggering swing (or lack of swing, I'll certainly grant you that John). It took me a while to come to grips with his style in this period, and finally the "acting" idea allowed me to wrap my mind around it. . . . This is among my very favorite Shepps. I'm going to have to grab it and put it in the player again soon! Come on FRIDAY!

And Alanis Morissette is God? Who knew!

I haven't heard this Masakela, but as regards his tone. . . I can hear what you may be hearing as roughness. . . it's part of his unique sound that is also a sort of "African" trumpet sound that I heard in southern Africa in the sixties. . . .