mjzee

Well, first you take a photo, could be of anything, could come from anywhere, any quality, doesn't need to reference the musician; then your lettering on the cover should be in a commonly-found font, like Helvetica; finally, your covers should have the same look from release to release. Oops, I think I've just described... I should add this:

According to Miles's autobiography, IIRC, only Coleman complained about not getting paid.

Other bargains that caught my eye: Zoot Sims and Harry "Sweets" Edison, Just Friends, $5.99 Harry "Sweets" Edison, For My Pals, $5.75 Roy Eldridge, Little Jazz & The Jimmy Ryan All-Stars, $4.31 Roy Eldridge, Decidedly, $4.31 Roy Eldridge/Oscar Peterson/Dizzy Gillespie, Jazz Maturity Where It's Coming From, $4.31 Willis Jackson, Legends of Acid Jazz, $6.99 Scott Hamilton, Back in New York, $4.19

I wonder if this contains the original release on Round Records; I regret selling the vinyl eons ago.

I have this on Yazoo. Sounds pretty good; less noisy than Hard Time Killin' Floor (based on the Amazon sample):

Release date February 18:

Great thread! (Though not so great for my wallet.) I followed ghost of miles's link, and then followed links from there. I didn't know Newbury still had so many reasonably priced Prestige/Concord titles, and all are Amazon Prime (so no shipping charges). I just ordered these: Sonny Stitt, Legends of Acid Jazz, $4.31 Sonny Phillips, Legends of Acid Jazz, $4.31 Gene Ammons, Up Tight, $7.99 Gene Ammons, Organ Combos, $5.99 Les Spann, Gemini, $5.99 Phil Woods, Early Quintets, $5.99 Sonny Criss, Rockin in Rhythm, $4.31 Willis Jackson, At Large, $5.99 Shirley Scott, Legends of Acid Jazz, $7.26 Willis Jackson, Keep on a Blowin, $4.31 Tal Farlow et al, On Stage, $2.99

I enjoy his work with tenor saxophonist Bennie Wallace on The Free Will and Self Titled release on AudioQuest. Thanks; I didn't know about those. Will try to check them out.

It must shwing!

I never really warmed to Sunset & The Mockingbird; it sounds a little too serious, in an atypical way for his recordings. It doesn't swing. I think his Enja recordings were just a beautiful run; not a bad one in the bunch. If I have one caveat, it's that he was very prone to trio recordings; I would have loved to have heard him more ('70's and beyond) with horn players. These are all beautiful, and they all swing: Other good ones from the seventies onward: And a personal favorite... (aargh! "Too many images" sez the board. It's "Our Delights" by Flanagan and Hank Jones. I'll try to post the image later.)

Amazon lists release date as February 25. Weird that the Naxos site claims these are not airchecks; weren't those the source for Boris Rose?

What is that, LP-R?

Great list, kh; please keep it up.

Just got back from The Cookers show in Houston. Looked like a sold out show; theatre held around 1,500. Very strong performance by all in the band. They're a true ensemble - no one gets an inordinate amount of solo time. Billy Harper was a standout, but so were David Weiss, George Cables, Billy Hart and the rest. Cecil McBee took a solo. All in all, excellent show. Weiss made mention of the terrible weather last night in Denton; he said no one showed up.

I like this, which will be reissued on March 18:

Decade-by-decade, as he moved from bebop to cool jazz, free-form experimentalism to jazz-rock fusion, the rest of the jazz world followed. So it's not surprising that Herbie Hancock, 73, who helped shape the sounds of Davis's pathbreaking quintet of the 1960s, would open his 2014 Charles Eliot Norton lectures at Harvard University on Monday (the first in a series of six over a two-month period, entitled "The Ethics of Jazz") with "The Wisdom of Miles Davis." Full article here: The Genius of Miles - WSJ (If the link doesn't work for you, Google "The Genius of Miles")

This looks like classical, not jazz, unless I'm mistaken.

Got mine today - #4246.

Hey, the concert's this Friday night! Yay!

This is the last Dylan commercial I remember:

Thanks for sharing that. Weird that the writer thinks that Bob's impulse was political. I think it's just patriotic, and rooted in the idea that people here should have jobs. No different than his supporting Farm Aid.

I liked how Dylan paced his narrative to fit the background beat.

Thanks, Marcel!

I thought Dylan put himself into it, almost like in a Paul Harvey role. I think of two prior incidents in his life: the song Union Sundown on Infidels (which was released as a single), which bemoans "there's nothing made in USA/they don't make nothing here no more," and at the original Live Aid, where he mentioned in passing, but to the crowd and world-wide TV, "it would be great if some of the money raised here today could go to the American family farmer" (not an exact quote). This of course begat Farm Aid, which continues to this day. So I think Dylan meant what he said in the Chrysler commercial.

Also, the Chobani ad had a backdrop of "I Want You."