jazzbo

Dusty Groove is selling "Nexus" for fourteen dollars. Yes, you should.

Perfect guitar for a Leo.

Hmmm. . .I couldn't find any information either. Did find six tracks on the Internet Archive from 1927. . .that surprised me.

Thanks for the very informative post Mark!

I first read Gateway serialized in a magazine (Galaxy?). Was hard to wait month to month to read installments! Good stuff.

MJ, There are two really good two cd sets from Columbia, 'Jazz to Soul" and "The Queen in Waiting." Both are great; there's overlap so getting both will lead to a number of track duplications. That said. . . I have both.

Great! I'm glad this is back in print, it was missing for some time!

I agree, that's a great novel. If you can find it, I recommend "The Man Whose Teeth were All Exactly Alike." It is my other favorite mainstream novel from Phil.

Yeah, I really like these movies. I'm selling these because I bought the Blu-Ray versions.

That's my opinion too. And Jaco play that bass? NO WAY.

I think all payments have been received; all cds should be received as well. Thanks to all! Still plenty available.

Oh I failed to report back earlier, Mosaic has said Aretha's Columbia work was too "all over the map" for them. I disagree. Too bad. Hopefully American Beat will continue their reissue of these lps. . . They've done three twofers so far.

To play? Used to be soccer. . . or tennis. . . or soccer. . . or tennis. To watch? I don't watch any sports.

Word.

I'd not disagree with any of that, Lon. Where we might have a difference of opinion is the frequency with which it happens "naturally" as opposed to "forced". Notice I did not say "contrived", because I do not believe that Jarrett is in any way cheap about or with his music. But I do think that he has a history of letting process and outcome become one and the same thing, and that's something that kinda bothers me personally. Well I just don't get this from him so I guess it must not bother me, personally or impersonally.

I guess I disagree with Jim re: Jarrett. I hear a lot of Jarrett's expressiveness as rhapsody, and I enjoy the shifting planes of composed and invented I hear in the solo material. That trio. . .it can swing, it can roll in rubato, it can careen along almost chaotically, and it can produce a triumvirate version of that rhapsody. These are masters at working together, working together.

I am ashamed of myself. For the next few minutes anyway.

Oops! I was asleep!

They also have an upcoming US release of five cds in a box set that have the orchestra performing the works of Dutch jazz composer and arranger Rob Madna that is available for preorder from cduniverse.com for less than thirty dollars: Information: http://www.dutchjazz.nl/Rob%20Madna%20-%20CDs_text_DE.html

Me either, I ordered the cd itself as I have the Strayhorns and Williams and really enjoy them.

I have the cd. If you're a Monk fan, and can handle mediocre sound (it's good enough for this kind of thing but compared to say the RVG recorded Prestige or the Columbia Recordings or the Riverside, mediocre) get it. You'll dig.

The movie "Ultraviolet." I know it's a stupid plot. Still I really enjoy this movie. I love the digital machinations used on this and the vivid colors. I'm watching the Blu-Ray and it's a fantastic transfer and the image is just astonishingly good.

You should take the plunge. It's dixieland. It's jazz.

That was a good band. I accidentally ordered that one twice, which is why you have your copy!

Found this info online, looks like an attempt to recreate Claude Thornhill band material by this excellent orchestra whose works featuring the music of Billy Strayhorn and Mary Lou Williams I really enjoy. This features some never previously recorded pieces. . . http://www.challenge.nl/index.php?group=pr...al=119685583782 Janine Abbas, Friederike Darius: flutes(track 6&9) | Marco Kegel: alto saxophone & clarinet (tr.5 replaced by Albert Beltman) | John Ruocco: clarinet | Ab Schaap: tenor saxophone & clarinet | Simon Rigter: tenor saxophone & flute | Nils van Haften: baritone saxophone & bass-clarinet | Jan Oosthof, Ruud Breuls, Mike booth: trumpet (tr.5 replaced by: Erik Veldkamp, Ray Bruinsma, Jan Hollander) | Martijn Sohier, Ilja Reijngoud(tr.5 replaced by Hansjörg Fink): trombone | Rene Pagen, Roel Koster, Morris Kliphuis: french horn | Martien de Kam: tuba | Rob van Bavel: piano | Martijn van Iterson: guitar | Jan Voogd, Jos Machtel (tr. 5): bass | Eric Ineke, Marcel Serierse (tr. 5): | drums In 1957, Capitol Records released an LP album that contained eleven instrumental tracks by a group billed as the Miles Davis Nonet. The material on this LP stemmed from two recording sessions in 1949 and 1950. Capitol had originally released some of these recordings as 78 rpm singles. The music was scored by a group of young modernists, then virtually unknown: Gerry Mulligan, John Lewis, Gil Evans, and John Carisi. The Miles Davis Nonet had an unconventional line-up that included “non-jazz” instruments such as a French horn and a tuba. The sound of the Nonet was even more unconventional. Against impressionistic, subdued backgrounds, the soloist escapades of Miles Davis, Lee Konitz and Gerry Mulligan defied the dominant aesthetics of late-1940s bebop, which called for virtuosos who expressed themselves with quicksilver versatility. Capitol’s 78s of the Nonet sold modestly and had little impact at the time of their release. The music must have struck most listeners as an odd, far-out extension of the modern jazz movement. But among connoisseurs, the recordings gained an underground reputation, which has never stopped growing since. The catchy title of the compilation was as suggestive as it was misleading: The Birth of the Cool. Despite the suggestion of the album’s title, “cool” was not “born” with Miles Davis Nonet, in 1949 and 1950. In truth, its musical idiom developed out of experiments by a number of young modernists. Two of the main voices of that group were Gil Evans and Gerry Mulligan. The present CD is dedicated to their largely unknown work for the Claude Thornhill Orchestra, the band that served as main inspiration for the Miles Davis Nonet. Among the historically important scores presented here are two arrangements by Gil Evans for an extended Thornhill orchestra, including a breathtaking version of Moondreams (as part of a medley) that served as the basis for the famous Miles Davis Nonet recording. The other gems are hitherto unrecorded scores by Gerry Mulligan, which prove that he was one of the important architects of the Birth of the Cool sound.