mjzee

And for the same reason, I predict that next year's project will be a release of the complete 1966 tour.

https://en.wikipedia.org/wiki/The_Time_and_the_Place:_The_Lost_Concert vs.

I have this, which is enough for me; it contains 5 of the 8 albums:

The next Horowitz box is now listed on Amazon, with a release date of October 23:

Good luck!

I think one big reason they're releasing the 18-disc set is for the same purpose they released this and its predecessors: for copyright reasons: (and to make some real money from it).

At this moment, I don't know that I need any of it. An entire disc of LARS? To offer an analogy, I love Charlie Chaplin shorts. They're a marvel of lyricism, humor and astonishment. In the '90's, a series appeared called The Unknown Chaplin. Through outtakes, it showed the painstaking work that went into his short films. For me, it removed the magic: I saw the work that went into the films rather than simply being able to enjoy them.

I prefer the Clark tunes fleshed out by a quintet on the My Conception album.

I'd recommend the duet album with Robert Plant, the Live double-album with Union Station, and New Favorite. Yes, just a beautiful voice. You probably can't go wrong with the greatest hits album, either.

1954 Vogue Paris date recorded for them in NYC. I have a lovely 10inch UK edition . Music is great Formerly reissued here and also on a Prestige LP: I have 5 tracks as part of this OJC release:

Off the top of my head: Elmo Hope Trio on BN Sonny Clark Trio, also BN Bud Powell...where to start? BN, Verve, ESP (1953!) Tommy Flanagan - Overseas Horace Silver BN

I use the Spin-Clean system. Fairly economical after the initial purchase, with satisfactory results.

There's a positive write-up in today's WSJ for the KEF Egg. See if you can open this link: http://blogs.wsj.com/personal-technology/2015/09/21/kef-egg-the-best-speakers-you-didnt-know-you-needed/

I remember an article in Stereo Review from the early '70's that discussed the topic of filing classical records, which is a much more knotty problem than rock or jazz (do you file by composer, conductor, pianist? what of compilations? etc.). Would love to reread that article today.

James Harrod discovered the alternate takes. He told us about it in this thread, and they can be downloaded here (scroll to the bottom of the page).

Note that the "Montgomeryland" material can be had legitimately on this: Amazon

Very sad to hear of your family's loss, Dan. We experienced a similar sudden end to our cat Maydele's life last year. Again, cancer, not caught until it was too late.

It's on Ebay now for $149: http://www.ebay.com/itm/Mosaic-MD7-201-Complete-Mercury-Max-Roach-Plus-Four-Sessions-CD-Set-/121744564379?hash=item1c588aa09b

Over on dead.net, a poster named KeithFan2112 posted a very interesting analysis of the band, comparing when they had 1 or 2 drummers: The one-drummer / two-drummer conversations always interest me. I played with multiple drummers in my high school ensemble band, and as the lone drummer in half a dozen ill-fated high school and college bands. It's fundamentally impossible to play with the improvisational style that the '71 - '74 Grateful Dead did on numbers like Dark Star, The Other One, Playing in the Band, and countless jams titled Jam, with two drummers. One of them would have to be relegated to an auxiliary role, or the parts would have to be well arranged and rehearsed ahead of time; no room for improv. Take Dark Star circa 1972, for example. Changes within a performance were typically directed by Jerry, Phil, or Bill, with Bobby and Keith following (I don't hear much of Pigpen on these '72 performances - I suspect he sat out or played light percussion). If Jerry or Phil want to head in a different direction (i.e. play louder, softer, faster, slower, or introduce a new melody), one has to take the lead, the other has to follow, and the leader has to communicate with the other and the drummer, either through auditory, visual, or telekinetic queues (some argue that telekinetic queues are a more advanced form of auditory queue, but they're usually not musicians:) All of this has to happen with speed and proficiency to sound good, which is what the one-drummer version of the Grateful Dead did with pinpoint precision; they made the unrehearsed sound rehearsed. When they were on their game, they interacted like pistons in a musical engine, and Dark Star moved along with uninterrupted grace. Not to take anything away from Keith and Bobby; they played as much as anyone on these performances, they just weren't facilitating the changes quite as often (a notable exception is when Bobby ENDs Dark Star, typically with a teaser line from Sugar Magnolia, or whatever else was to come next). And that's just Dark Star. I haven't listened nearly as closely to the 1972 performances of The Other One; Bobby may very well lead more here, as it's his song. The unpredictability and originality that typified the jams of this period isn't possible with two full-kit drummers (they would end up competing with each other, which would not only sound awful, but it would also close off a good deal of the open space where the melody and color of the non-percussion instruments dwell); so a change was in order when Mickey returned. I suppose there are two ways they could have done it: one drummer could stand down and take an auxiliary role (i.e. augment the percussion sound with maracas, bongos, floor toms); or, they could go back to how they did it pre-'71, which is what they did. So, if you compare Dark Star from The Closing of Winterland (or a pre-1971 performance) to just about any Dark Star between '71 and '74, you have more of the changes revolving around melody and volume, rather than tempo and meter. Effectively, they returned to more rehearsed, tighter arrangements, and less improvisation. Take it easy folks. Whoa, whoa, whoa, but wait a second here...didn't they have difficulty finding room for TC when they had the beefed up, busy two-drummer rhythm section of 1969? You bet they did, glad you mentioned it; because TC isn't a chord player, he's a note player. TC's challenge wasn't so much having another organ player onstage in Pigpen, as it was finding the open space to PLAY in (and Pigpen was a chord player anyway, so their styles were complimentary). And if TC was a note player, and KEITH is a note player, then wouldn't Keith..have...the same problem....oh boy, I see where this is going - where is my boy Godchaux going to play with two mother-f@#ken drummers in the band? In retrospect, the demise was certain. With the resignation of the jazz-fueled, acid-drenched monster and pin-drop finesse of the 70s, and the onset of the hard-rockin' cock-swingin' machine of the 80s, Keith Godchaux's role was slowly diminished. The man could play chords in his sleep (which he eventually demonstrated:-), but he didn't thrive as a rhythm player, which was essentially what he was relegated to as the 70s wore on. Within the Dead's sonic landscape, he went from having huge open fields to run the ball in, to getting one or two at-bats a night. No doubt, the return of Mickey Hart was the snowball that started rolling towards Keith, gathering size and momentum with each passing year, until finally it swallowed him up and buried him under. How's that for drama. But yeah, Keith Godchaux, great piano player...

So if they merge, do they become AB-SAB?

Best I can tell, there was only one show: 9/24/88. Two songs: West L.A. Fadeaway and Little Red Rooster. Not commercially released, but easily heard via archive.org.

Attention JLH!

The only Solo Mosca I've heard is the one on Choice.

I guess the most "famous" gig from that tour was Barton Hall (5/8/77), which hasn't been officially released, but is easily downloadable from archive.org. You might consider "To Terrapin: Hartford '77" (5/28/77), "Dave's Picks Vol. 12" (11/4/77), "Dick's Picks Vol. 10" (12/29/77 & 12/30/77), and the aforementioned DP Vol. 34 (11/5/77). If you get DP 34 and Dave's Picks 12, between the two you also get an almost-complete 11/2/77 show (just missing 2 songs). One massive release I wasn't too impressed with was the box set of 5 May '77 shows; I found it kinda slow and sluggish, though it has its moments.

I have the Telarc disc, "Like Someone In Love." It's of a piece with the other titles from this gig. Just lovely stuff. If memory serves me correctly, sound quality may be a shade not as good, but don't know why. This group produced a vision, a sound, shimmering. I think of it in the same vein as the Jim Hall Live album on Horizon; it just puts you in a state. Look at the titles: Just Squeeze Me, Tangerine, Meditation, Nudges, Like Someone In Love, and (to send them home) Things Ain't What They Used To Be. Just Squeeze Me is especially lovely.