mjzee

In the U.S. It's only $27.98.

Anyone here familiar with this? Release date was September 9:

I liked this aspect of the Savoy box. I owned the 6 LPs released by Spotlite in the late '70's, and was always irritated that they never indicated which were the master takes.

I have the Bird on the Savoy/Atlantic set; and most of the Dexter on Chronogical Classics (admittedly, this set will be in better sound) That leaves the Dizzy, Sonny Berman/Bill Harris/Ralph Burns, Howard McGhee, Erroll Garner, and Earl Coleman/Fats Navarro. Roughly half the set. Hmmm.

Interesting that Jonathan Horwich helped with the transfers.

A quick search brought up these intriguing titles, apparently not available elsewhere:

Now, those Laserlights are different than the "Private Collection" discs released on Atlantic, correct?

Grabbed a used copy of the birthday box from a reseller; also ordered Cool Rock. Thanks guys.

Everything I saw at the Houston store was new, major-label product.

Hmmm...jazzdisco.org says this was the final Basie recording:

Per Wikipedia, this was Basie's last album; haven't heard it, though:

Were there 5 albums of Basie and Peterson? I count: Satch and Josh Satch & Josh Again The Timekeepers Night Rider Yessir That's My Baby Are there any others? Listening now to Yessir That's My Baby...very enjoyable.

I wonder if the Dave Burrell is a Christmas concert.

We browsed at Urban Outfitters the other day, and saw a bunch of 20-somethings going through their LP section. It was a sight to see, like a throwback to 30 years ago.

I notice this 4-cd set of Basie's Pablo years is still available for $9.99 on Amazon:

Are there any other Duke Laserlights worth getting?

This might have been later:

This is a fun album:

I've always loved and cherished this set (although I have it on LP, which has all 12 pieces). RIP.

My copy of the double Atlantic LP was pretty noisy. I'd love to see a good legitimate rerelease of this material. Too bad Mosaic's been there done that.

This?

A tidal surge pounds through an opening in a coastal rock formation, and then empties out. One can feel the Pacific Ocean's force near Big Sur, Calif., where saxophonist Charles Lloyd spent a long period of retreat from the mid-1970s to the mid-1980s, "getting off the bus," as he puts it, at the height of the popularity generated by his best-selling 1967 recording, "Forest Flower." That image—filling up, emptying out—returns again and again, like a mantra. Water abounds, literally and figuratively, in "Arrows Into Infinity," a documentary about Mr. Lloyd directed and produced by his wife, Dorothy Darr, and Jeffery Morse, and recently released in DVD and Blu-ray formats by Mr. Lloyd's longtime music label, ECM. (It was screened last weekend at the Monterey Jazz Festival, where, 48 years ago, Mr. Lloyd was recorded in concert for "Forest Flower.") More here: WSJ (or search for "Far From Linear")

Thanks to y'all, especially Jeff and Jim, for your quick, incisive responses. That kinda confirms to me what I've been hearing. I need more listening to Konitz and Marsh, Marsh especially because he plays in such an understated, diffident way - if you don't really tune your ears to him, what he's playing will just elude you. It's funny that my favorite Tristano so far is the quartet date with Konitz, Ramey and Taylor at the Confucius Room. Especially interesting for me is that 1) my favorite tracks are the ones that Tristano left in the can, and 2) the overall feel of the date is a good club workout, and I attribute the feel to Ramey and Taylor. They keep things tight but loose, and they allow Tristano and Konitz to sound tight but loose. Never underestimate a good rhythm section. I worked with a guy named John Baier, who was a pianist from Michigan and who knew all the Detroit cats from the late '40's. He moved to NYC in the mid-to-late '50's, and I think tried to make it as a musician but eventually settled down to a day job and family life. He told me that he used to jam with other musicians, and one day played with some Tristano-ites. He found it a strange experience; he called off a tune to play, but they just said "we don't play those tunes."

Quincy Jones on Clark Terry - NY Post