mjzee

Freddie Redd - Music From The Connection George Coleman - Amsterdam After Dark Barry Harris - Plays Barry Harris Bill Evans - Quintessence Karrin Allyson - Footprints Charlie Hunter - Baboon Strength Art Blakey live at the 1972 Monterey Jazz Festival Yazoo blues collection: St. Louis Town 1929-1933 Kenny Dorham - Quiet Kenny Gerry Mulligan Quartet - Zurich 1962 Teddy Charles, Idrees Sulieman, John Jenkins, Mal Waldron - Coolin'

This is a great idea!

What was on side 1?

About what eMusic charges!

Dave McKenna - Giant Strides Sammy Price - Boogie & Jazz Classics, Rockin' Boogie Dexter Gordon - Atlanta, GA 5/5/81 Claire Martin - Secret Love Don Cherry - Live at the Cafe Montmartre vol. 2 Dizzy Gillespie & Oscar Peterson Duke Ellington - Ellington Suites J.J. Johnson/Nat Adderley - Yokohama Concert Benny Carter & Dizzy Gillespie - Carter Gillespie Inc. Eddie Lockjaw Davis/Harry "Sweets" Edison/Al Grey - Jazz at the Philharmonic 1983 John Fahey - Live in Tasmania Kenny Barron - Live at Bradley's, The Perfect Set Johnny Griffin/Eddie Lockjaw Davis - Tough Tenor Favorites, The Tenor Scene Herbie Mann - Just Wailin' Art Pepper - No Limit

Amazon has Strictly Powell as a download: Strictly Powell

May I ask where y'all bought your Rega Planar 3?

Mine arrived yesterday. I also bought Sonny Clark's Leapin' and Lopin' - True Blue's price was the same as Amazon's.

Back when I remember researching this stuff (many moons ago), I remember liking the sound of Audio Technica much more than Shure - the Shures sounded more flat and lifeless, while the ATs sounded more tuneful. I also liked Ortofon. I've known about Grado for years, but never owned one. I really dread the whole process of slipping the leads on the 4 pins, and balancing the arm. My current turntable is a Sony with a straight-arm and a P-Mount cartridge (Ortofon). I know the purists were against the P-Mounts, but I loved the no-fuss aspect. I found the receipt for the Sony while researching its sickness...I've had it for 19 years. Not a bad run, all in all.

My turntable may be dying. Any recommendations for a new one? I suppose a Technics SL1200 would be good... Does anyone like Music Hall? Also, cartridges? I think the Music Hall comes with one.

I always thought it was so eerie that the last song he recorded was I Love Paris, considering that was where he thought he was truly appreciated as an artist.

Rouse does have a distinctive sound, almost like he's playing a trumpet rather than a tenor. The spaces between the notes give the music room to breathe, much like Monk's playing does.

I think I'm going to spring for it. I've been listening a lot lately to Stanley Turrentine's Look Out!, and have been very impressed with Parlan's comping.

I've always had a soft spot for the final sessions, what would have been Charlie Parker Plays Cole Porter.

Amazon now has the complete download of this concert for $9.99: http://www.amazon.com/Bopland-Legendary-El...335&sr=1-25

Does anyone have experience with this website? I've never heard of them.

That was an amazing deal! Thanks for letting us know.

One aspect to consider is that Monk's playing was so much more documented in the '60's than before, particularly with all the European concerts. But in those concerts, Monk and his band were playing a set list to large audiences. It would make sense that, within being true to himself, he'd want those concerts to be as dependably successful as possible. Hence a lot of them sound alike. I wonder whether we're partly reacting to that. Also, listening to many concerts from the same tour, regardless of the artist, will reveal a certain sameness. I'm thinking, for example, of all the European Mingus concerts with Dolphy.

My wife and I saw him at Foxwoods a few weeks ago. It was great seeing him, but it was more for the concept of Bob than the actual concert. He was in great spirits, very energetic. We sat in a mezzanine a good ways back. It's notable how little he cares to engage the audience. To me it seemed like he's anxious to get through each song - it wasn't very relaxed. He's also not very user-friendly...I was able to recognize most songs, but to my wife, less of an aficionado, it all sounded alike. Say what you will about Charlie Parker, re improvising, but each time he played Ornithology, it was recognizably Ornithology, and very enjoyable. This Dylan performance? Less so. True story: as we were finding our seats, we overheard someone else ask an usher how long the show will be. Usher's reply: he plays two hours, on the dot. And that's exactly what Bob did.

I really am puzzled by the economics of this. Those albums were all acquired within my normal monthly 100 quota and I still have 40 left. Cost = £19.99. I'd be paying £50+ using existing online stores. Not that I'm complaining! Here's my guess as to the economics: the label is monetizing existing assets. You're right that each CD would cost X if you bought it in a store. But, besides the cost of manufacturing the CD and shipping it to the store, it's then going to sit there waiting for someone to buy it. It also has to be first bought by a retailer, in the hopes of reselling it at a profit. So the retailer has the risk of loss if it doesn't sell (this is just a simplified portrait; often, retailers can swap out non-moving items for others). If the retailer doesn't want to take that risk, he doesn't stock the CD, you can't buy it, and the label can't sell it. With eMusic, there are no manufacturing costs, you're far more likely to download way more music than you'll ever have time to listen to (trust me, I know about this), and the label (and, hopefully, the artist) is earning revenue they would not have received otherwise. Because the issue isn't really the titles you would have paid for in the store, but the ones you wouldn't have (but are now downloading). Finally, the label receives a fairly steady stream of income.

Art was incredible...truly typified spirit over the aging flesh. He always sounded so good! Probably the most consistent jazz artist there was. I always love listening to him.

Lucky you, Bev - ECM is not available on US eMusic.

Revolutionary Ensemble - The Psyche Coleman Hawkins: 4 tracks with Monk from "Bean & The Boys" (Prestige): On The Bean, Recollections, Flyin' Hawk, Drifting on a Reed. CH, tenor; Monk, piano; Edward Robinson, bass; Denzil Best, drums. 10/19/44. Oregon: 1000 Kilometers Art Pepper: Living Legend Arthur (not Art) Taylor - Taylor's Wailers Warne Marsh - The Unissued Copenhagen Studio Session Dorothy Donegan - Live in Copenhagen 1980 John Abercrombie and John Ruocco - Topics Anthony Braxton - Trio & Duet Hank Jones - Rockin' In Rhythm