Cliff Englewood

€11.50 is a damn good price for a Conn, well done plato.nl.

In the case of the Blackburn and the Evans I think its value for money as there is more than one album involved but considering that the RVG/Pacific Jazz stuff is never more that €13 and can usually be found for €10, I find $20 for a single CD a bit on the expensive side. I am grateful that EMI is continuing their reissue schedule and whatever the price I will continue to buy them, but I will most definitely continue whining about the price.

David, I don't think they were Imports, as then they would have been even more expensive than the €20 I was charged for each disc, yes that's right €20, and they're not even Jap. Imports I gave the Blackburn a spin and I think comparisons to the Sonny Criss Imperial stuff would not be far of the mark, not necessarily musically, but in terms of quality/quantity, and in terms really great jazz, not life changing Jazz, that people like me would not have heard only for good ole Michael C. The second Session has the edge but I really like the group sound and it shows how much great stuff was produced on the West Coast that never got a chance. Excellent sound quality too.

News Flash !!! News Flash !!! News Flash !!! News Flash !!! News Flash !!! News Flash !!! News Flash !!! News Flash !!! I bought these 4 this afternoon in Dublin; Lou Blackburn - The Complete Imperial Sessions Andrew Hill - Pax Jackie McLean - It's Time Gil Evans - The Complete Pacific Jazz Sessions very expensive, but just had to splurge, but the thing is, none of them have Copy Protection messages on the packaging. I haven't listened to them yet but all other Conns I have gotten recently, with the exception of "Sonic Boom" and the Elmo Hope, have had C.P., but this batch doesn't seem to have it.

Yea, looking forward to all the Tenor players on this Set, and Hank is in a Piano-less Quartet circa 1957, how completely "Avant Garde".

Just thought I'd bring this one back up for some air, for no reason other than I have ordered this set myself and it should be arriving next week sometime. I only have one of the Sessions, "Max Roach Plus Four", which I really enjoy and I'm looking forward to hearing loads of George Coleman. How is "Big" George on these Sides?, Blue-sy and Bop-ee I'll bet.

Sounds like it will have to be bought then, I find myself listening to more of Miles' Electric stuff then ever before. I got "Miles In The Sky" recently as well and really like it also. Thanks for the info.

So I bought "Live Evil", and have listened to it a couple of times and liked it more than I thought I would. So much so in fact that I am now considering the Cellar Door set. So if I like the "Live Evil" stuff would I like the Cellar Door set more or less? I mean, is it just loads and loads of the same stuff or what? I gone through most of this post and very little of it actually pertains to the music, as usual.

I was listening to the twofer at the weekend and the "The Soul Book" definitely gets a He was giving off a bit of a Patton vibe, in that you had to really listen to hear what was going on, very subtle stuff. The sax and guitar player, Edlin "Buddy" Terry/Vinnie Corrao, are pretty good too.

I have that twofer myself Shawn, haven't listened to it in quite some time, probably as it didn't really blow me away on first listen, but you know how sometimes things don't hit you first time and then later you're wondering why you don't listen to it more often.

This Bad Boy here hasn't been mentioned, until now. Not typical Hammond stuff, but class none the less.

I don't have this but will really have to get it, although I've never seen it in Dublin. Just out of curiousity, how are Land/Jones on this? Do they get much space to blow?

PM sent regarding Leroy Vinnegar - Leroy Walks.

What are these live sets from Germany in the summer of 69 ?

Nice Thread, I'd been thinking of starting a Land thread myself, and subtitling it "Harold Land: The West Coast Hank Mobley" Seriously love his playing though but only have his 50's and 60's stuff, the most obscure of which is HERB GELLER: THAT GELLER FELLER (Fresh Sounds). Nothing outstanding but good to very good West Coast Bop, nice line-up all the same; Kenny Dorham, trumpet; Herb Geller, alto sax; Harold Land, tenor sax; Lou Levy, piano; Ray Brown, bass; Larance Marable, drums. 1. S'Pacific View 2. Jitterbug Waltz 3. The Fruit 4. Here's What I'm Here For 5. Marable Eyes 6. An Air For The Heir 7. Melrose And Sam I too would be curious as to the merits of "The Peace Maker", webbcity can you elaborate a little more on this one please? Has anyone got the "new" version of "Take Aim", is this one any good? Also, has anybody got the 20 bit "West Coast Blues" Victor VICJ 41399 or the 20 bit "Landslide" Victor VICJ 41386, if so, is there a major sound improvement as I find the generic "Landslide" a bit dull and I would upgrade if the 20 bit sounds better.

Regarding Lou Blackburn, this is from AMG; Biography by Eugene Chadbourne With some musicians, their career represents an actual odyssey or travel through musical situations both geographical and aesthetic, and trombonist Lou Blackburn is a perfect example. It is too easy just to dismiss him as another mainstream jazz trombonist gone Afro-pop, when his actual personal voyage, from his native Pittsburgh to the life of an expatriate jazz player in Europe, from mainstream jazz to Mombassa, is an inspiring example of self-realization through trombone solos. Blackburn became passionate about music early in life, using it to help get through both the disciplined lifestyles of college and the army. Getting out of the services in 1956, he began gigging with Charlie Ventura, immediately establishing a connection with the West Coast scene that never went away. Blackburn did more than catch sun rays in California; if a really happening jazz event was taking place, he tended to be more than just on the sidelines. Mingus at Monterey is one classic recording of modern jazz on which Blackburn appears as part of an expanded group of hornmen tackling the difficult and profound "Meditations on Integration" chart, including trumpeters Bobby Bryant and Melvin Moore, Red Callender on tuba, and Buddy Collette on alto sax and flute. Blackburn also cut sessions on his own with Horace Tapscott sitting in the piano chair, the reissue of which has been a great opportunity to study the latter unique musician's evolving style. Blackburn was already a veteran himself when he became involved with Tapscott, and had spent the late '50s honing his trombone chops on tour with Lionel Hampton, a heavily booked group that did long stretches of one-nighters throughout Europe and North Africa. In 1960, Blackburn joined the band of trumpeter Cat Anderson, a trail that led back to the classic big band of Duke Ellington, with whom the trombonist wound up working for eight months of 1961, some of which time was spent toiling in the Columbia recording studios. From here he went to California, where he began working in film studios, also tainting the slide of his trombone with the allure of pop music. Blackburn's credits lurch into another dimension at this stage of the game, perhaps the fifth, with appearances on recordings by the Turtles, the Righteous Brothers, and the Beach Boys, in the latter case admittedly doing naught with his trombone that might distract from the sounds of the theremin on "Good Vibrations." There were also incredibly creative projects, such as the David Amram recording session for the paranoid masterpiece film The Manchurian Candidate, for which the composer assembled a first-rate orchestra from the ranks of symphony soloists, chamber music players, Latin performers; with such jazz artists as reed player and flautist Paul Horn (basically helpless unless he is playing in a monument such as one of the great pyramids), big-toned tenor continent Harold Land, low-end reed guy Jack Nimitz, and Dick Leith joining Blackburn on the trombones. Amram himself startled some of the film's producers by leapfrogging from the podium to the side of the musicians, joining the fray with his own improvised solos on French horn and piano. In the '70s, Blackburn was ready for another change, good vibes or not. He moved to Europe, where he began leading his own groups first out of Berlin, then Switzerland. He formed an ensemble entitled Mombassa, with a very strong African content to its arrangements. The lineup included musicians from several African countries, the influence of African music in the leader's playing more and more apparent in each passing year. He also collaborated with European jazz players such as Wolfgang Köhler in ensembles along the lines of the Lou Blackburn International Quartet, with more of a progressive jazz feel.

The package arrived yesterday, safe and sound, I would have described the condition as immaculate , you weren't joking when you said it was mostly unplayed. Seriously though, I've gone through the first 3 discs already and the music really is amazing stuff. Thanks again.

The Check is in the Post, as they say, only this time it really is.

Sent you another P.M.

Got the P.M. and sent you a reply.

Sent you P.M.

Yea I remember reading the same thing as Uncle Skid in the Penguin Guide myself, so I was pleasently suprised with the very much above average session I heard last night. A lot better than other unreleased Morgan i've heard. It grooves in that way all the great Blue Notes do, not trying too hard but just a nice flow to it, the title track is a case in point, if you don't like it you won't like the rest, Blakey's playing on this is toe-tap-tastic. Don't have the CD in front of me so I don't know what composer credit is given for 'Rigor Mortis' or how they spell it.

Picked these up in Tower yesterday, they had these but not the earlier batch go figure. Tomcat is a real suprise, it's the first time I have heard it and it's excellent, better than The Gigolo, i.m.h.o., Jackie McLean and Art Blakey are playing out of their skins on this one, however the cover is different to the original 1980's version, so let the whinging and whineing begin. New Cover: Old Cover:

I bought all 6 of them the other day, there are no obvious printing flaws on any of the European releases. Have to say that the Mobley is a serious mistake on one of my favorite BN Covers of all time. Could it be that they are sub-contracting out the production of the CDs to a 3rd party?

These should be out today, yet no mention of them on either the regular Blue Note site or it's European Brother/Sister site. Anybody get these yet?