mjzee

There was a thread similar to this recently: http://www.organissimo.org/forum/index.php?/topic/55584-charles-mingus/page__hl__mingus If I had to pick 3: Mingus at the Bohemia Mingus Ah Um The Paris "America" Session

How much is shipping?

Ditto. What a lovely synergy.

March 10: Bix Beiderbecke, cornet, 1903 David Friedman, vibes, 1944

That's an amazing list, TMG. Very informative.

March 9: Herschel Evans, tenor sax, 1909 Ornette Coleman, alto sax, trumpet, violin, 1931 Artt Frank, drums, 1933

Here are my thoughts as to why: The Mosaic building was mostly a warehouse, with a front set of offices. Either: 1) The lease was up for renewal. Mosaic farms out fulfillment to a third party, and gives up the building, resulting in significant savings. Michael and Scott then work out of their homes. 2) The south end of Stamford is currently going through massive renewal: very large office/residential/shopping complexes are being planned. The current owner of the Mosaic building is selling out, and told Mosaic to leave. 3) Same as #2, except that it's possible that Mosaic either owns or co-owns the building. They make money on the sale. Article on the development of the area around Mosaic warehouse; not a comprehensive article on the subject, but it'll give you a taste: Stamford Advocate

Maybe because you usually order by phone and not on-line, and aren't on their email list? I got one too, and I'm certainly not an insider. It was in an email titled "Last Chance." The top half of the email was about the Bix Box; below that is the announcement.

March 8: George Coleman, tenor sax, 1935 Billy Childs, piano, 1957

March 7: Alcide Pavageau, bass, 1888 Lee Young, drums, 1917

I wanted to see them when they hit Connecticut, but it was sold out. Please let us know how they were. Sounds like the same Jay Lane who played with Charlie Hunter.

Amazon is listing this as being available in the US on April 20: People Time

Laurie, I just noticed that this great date is listed as being available from Amazon on March 30. Do you know if it's a legitimate release or a bootleg? Among Friends

March 5: Lou Levy, piano, 1928 Bill Takas, bass, 1932

Surprised they're not calling it "The Complete Don Cherry 1959 Sessions."

"Capetown Fringe" was a surprise hit in NYC in 1978. The jazz radio station played it all the time. I have it on a great CD titled Voice of Africa; the track was renamed Mannenberg is Where It's Happening. Another great track on the CD: Black Lightning. But the whole album is good (tho I'm not fond of The Pilgrim).

March 4: Jan Garbarek, sax, 1947 Ricky Ford, tenor sax, 1954

Any opinions on the Billie Holiday box?

March 3: Barney Bigard, clarinet, 1906 Jimmy Garrison, bass, 1934

Thanks, Mark. I've never studied music, so it's interesting to read something like that and compare it to my impressions of what I hear. I take it that Ornette plays a melody, but doesn't link it to an underlying chord structure - the melody's just hanging out there, to be appreciated for it's own sake. Well, OK, I like tone and logic as much as anybody. But music's like a parfait - it's all the ingredients, and how they mesh together, and how it's baked. In much of Ornette's music, when I listen to the whole song, my impressions are "OK, what's the bass doing? What's the drum doing? How do they relate to the sax or the trumpet?" It's almost like, as long as they stick to the same tempo, they could be in separate rooms, each doing their own thing. And how can a music that the composer insists is so melodic be so unmelodious? And is it possible that in harmony there is warmth? People often say that Ornette's playing is like a cry (which I can hear) or happiness (I don't hear a lot of that). But I don't know that music that tries to be so singular can really convey a sound of commonality or geniality. I wonder whether Liebman's album attempts, through the addition of harmony, to add warmth and approachability to Ornette's compositions. I'd be curious to hear it, and to compare the tracks to Ornette's originals. I guess I like song structure. I like knowing what the band is trying to accomplish. With Ornette's music, I'm left unmoved - at the end of a song, I'm no different than I was at the beginning.

Also: Barrett Deems, drums, 1914

Thanks! I've added this to my queue: Amazon

Yessssssssssss!

LOL!!

February 28: Marty Grosz, singer, guitar, 1930 Willie Bobo, percussion, 1934