mjzee

I liked the covers on a lot of '70's reissues better than the originals. Many Savoy and Prestige covers were stone ugly (though some Savoys had a bizarre charm). Some reissue covers I liked:

The pressings left a lot to be desired, though.

Well, those are the original covers, no?

It's interesting that the same music can sound differently in different environments and with different technologies. For example, I used to think of Coltrane's music (post-Prestige) as very earnest and serious, humorless. It was when I listened in the car did I realize it made great driving music, and that "lightened the load" for me. Conversely, I listened to the new John Fogerty CD in the car and found it bland; listening to it now on the stereo is a delight.

My favorite is still Workout, for the great contributions by Grant Green. I think I have all of the BNs, the 2 Prestiges, one of the Savoys.

I'd like to add another choice: Listening to iPods connected to powered speakers, clock radios, or boom boxes throughout the house. By now, we have a motley collection of iPods of various vintages that can be repurposed in this manner (it's especially useful to use them this way when the battery is shot). When at my computer, I either listen to tracks selected randomly using iTunes (through either powered speakers connected to the computer or sent to my stereo via an AirPort Express) or to entire CDs or LPs on my stereo, which is in the same room. Even when I'm listening to the stereo, I'm usually doing something on the computer at the same time. In the car, I listen to random tracks played through my iPhone (it also helps to keep the iPhone charged). The only time I listen to radio is on the clock radio waking up, but even there, we listen via an iPod to a station "broadcasting" through the Web from 1,500 miles away.

Popmarket today is offering both Miles Davis bootleg series sets together for $64.99, which isn't a bad price.

Welcome to the board, Gilda!

I couldn't find an image of the back cover on the Web. IIRC, it lists the musicians and their instruments.

You forced me to look up the word "corruscating."

Yes, but you didn't name it Hank Mobley Corner.

Well if it was way back in the past and he was acculturized White, it's probably a moot point. Did he grow up poor? Then again, I always took the 'Jimi Hendrix was Native American' stuff with a grain of salt, until I read his people actually maintained connections to their NA family, and JImi spent a small amount of time with them on a reservation. So you never know, until you get more of the big picture. Wasn't a very 'Bluesy' guitarist was Johnny Smith, was he It looks like he did grow up poor. From the Guardian obit (also see post #14 above): Smith was born in Birmingham, Alabama, and after several family moves in search of work, grew up in Portland, Maine – the Depression having closed the Alabama foundry where his father had worked. As a boy, he listened to his father playing the banjo with friends, taught himself to play the viola and violin and practised on guitars in the local pawnshops in exchange for keeping the hocked instruments in tune. By 13, he was teaching adults the guitar, playing for money in a hillbilly band called Uncle Lem and the Mountain Boys, and learning jazz techniques by listening to the 1930s guitar stars Django Reinhardt and Charlie Christian on the radio.

Finally to be rereleased July 30. Anyone who's never heard it is in for a....uh, treat:

Should we also include Verna Gillis's Soundscape?

The little I've heard of Person, he strikes me as just a run-of-the-mill tenorist; nothing striking or really individual. I once saw him in a duet with Ron Carter, just didn't do much for me. Other than his ubiquity, what is there to recommend about his playing? It strikes me as jazz comfort food. Could you identify his playing in a blindfold test?

I once saw The Revolutionary Ensemble at Studio Rivbea. I bought this LP at the gig; it's a live recording, but doesn't mention the location:

The 1977 box just arrived - #14453. Even the shipping box is nice.

They do sound similar. It's easy to compare them using iTunes.

His playing also had emotional depth. I just listened to his rendition of Round Midnight - beautiful.

RIP. I saw him on stage once. He didn't play; it was a tribute to Barney Kessel, and Smith read a moving appreciation of him. A real mensch.

Great book. You can really tell that he wrote it.

He's probably doing it as a way to keep a connection with the muse. I recently finished Neil Young's autobiography, "Waging Heavy Peace." He talks a lot about the need to keep the muse at peace. Here's one excerpt: "This is very important. Don't spook the Horse. That is very essential to the success of any ride. The Horse will head for the barn if it is spooked, and the music will continue but not have that magic that the Horse possesses. Any ride on the Horse must not have a destination. History has shown that the best way to spook the Horse is to tell it what to do or where to go or, even worse, how to get there. You must not speak directly to the Horse or ever look the Horse in the eyes until the ride is over and the Horse is secured in the barn. It is okay to talk to the Horse directly, but care must be taken to have respect for the muse when discussing anything with the Horse. The Horse and the muse are very good friends. Disrespect for the muse will piss off the Horse, and possibly vice versa, although that is hard to prove. The Horse has met no equal, although there undoubtedly is an equal to the Horse out there somewhere. The Horse knows this well and will not tolerate anyone who is overly complimentary to the point of excluding other friends of the muse in a misguided attempt to gain the Horse's favor. That is absolutely not the thing to do, as it makes the Horse think, and that has a bad effect generally. The Horse has a voracious appetite. The songs the Horse likes to consume are always heartfelt and do not need to have anything fancy associated with them. The Horse is very suspicious of tricks. Keeping these simple guidelines in place is always a good idea when approaching the Horse for any reason."

In the Fearless Leader box, Coltrane is listed as composer.

I'm currently listening to the Soul Note box. His recordings have an interesting quality, like no other "free-ish" jazz I know. Almost a rustic, folk-like quality. He also doesn't shy away from having beautiful melodies and sonorities (on occasion). I really hear how he influenced the Jarrett "American" quartet. Does the ECM box differ from the Soul Note box, or is it more of the same? The Soul Note seems to begin when the ECM ended.

Click in the reply box, so you now see icons. On the top row of icons, click the third one from the left ("Special BBCode"). In the "Please Select" drop-down box, choose "Media." Then paste the YouTube URL in the "Media URL" box. Click OK.