mjzee

I just started listening to the Waka/Wazoo box. I really enjoyed disc 1, perhaps more than I liked the original Waka Jawaka and Grand Wazoo albums.

I wonder if this is the same company that did the Blue Note documentary "It Must Schwing." That also had animated sequences with voice-overs; they were very well done.

I liked it, though I think the R&B material isn't very impressive (and Sugarcane Harris wasn't very inventive). Max Bennett, though, is a monster. Here's my take: Zappa was trying to figure out his next moves after the disbanding of the original Mothers. Bitches Brew and other jazz-rock was in vogue and Hot Rats was a success, so he was testing whether a band was a next logical step. The Funky Nothingness sessions were the result (and the unedited Transylvania Boogie shows their potential). Then he ran into Flo and Eddie. The possibilities of what he could do with them (both as an "instrument" and their creative input) recharged his creative juices as regards songs and story-telling, and a project he had in the back of his mind about "the road" seized him, and he began to furiously write what became 200 Motels and Fillmore East. That's why Chunga's Revenge, in hindsight, seems schizophrenic: it's half the prior plans, and half after Flo & Eddie.

Disc 1.

Columbia US released a second twofer, "They All Played Bebop," that I believe contains the missing tracks. (The first disc is fleshed out with some random tracks Columbia owned.) https://www.discogs.com/release/6230466-Various-They-All-Played-Bebop

I'll sometimes read books on my iPad Mini. I can enlarge the text as much as I'd like, reduce the display brightness to make it comfortable to read in the dark, and I like not having the heaviness of a large book. I'm currently reading the DK book "The Complete Classical Music Guide," which is 354 pages and nicely illustrated. It wouldn't look good on a black & white Kindle screen, and would probably be very heavy in book form, but the iPad Mini version seems just right.

Very very good.

It's interesting that there are only six duplications between EIO Vol. 1 and this Frog release: The duplications are the 3 November 1927 and 9 January 1928 sessions. Moreover, the Frog has an alternate of Black & Tan Fantasy that the EIO doesn't seem to have.

But if you "buy" a movie that remains on Amazon's streaming service, they're still able to edit that movie.

Exactly. Great comment. I can look at a disc and remember where I bought it. I can take pride in having a collection that reflects my tastes. I still have books I bought in high school; it's all part of who I am.

Except that the service that banned the song, Yoto, is British.

Good luck!

That's your problem; those things don't sound very good. If that's your only current input option, then streaming won't sound better. You might want to replace that 6-CD player with a single CD player that could also give you a USB-in option. For instance, Amazon has this for $89.99, though you'd also have to pay for installation:

The iPhone has a lightning port, so you'd need a lightning-to-audio-port dongle. The Touch is probably better than a phone, because if you stop a song in the middle, it'll resume where you left off; a phone makes you restart the song at the beginning (at least that's my experience). Not sure why your Touch would sound worse than a disc - maybe you're ripping at too low a bit-rate.

I liked this article; it's all true. What's especially threatening, at least to me, is not the disappearance of titles but the stealth-editing of scenes, dialogue, etc. With the coming of AI, we may soon experience the changing of scenes or dialogue, or even new endings that change the dramatic meaning of a movie. Jazz is somewhat immune to this, since it's considered a marginal art form (although not by us). But pop music: just this week brought the news that "Fat Bottomed Girls" will no longer appear on Queen's Greatest Hits. How long will it be before the entire song disappears into the memory hole? So, yes, we should be concerned. It's very hard to notice an absence.

Release date November 3: Home Cookin' is a continuation of saxophonist Cory Weeds' 1st little big band record. Featuring a line up of all-star Vancouver players captured by award winning engineer Sheldon Zaharko at Vancouver's Warehouse Studios Weeds plays the arrangements of Bill Coon and Jill Townsend magnificently. Highlights include Weeds beautiful ballad Blossoms In May and Weeds' fathers burner Corner Kisses. Release date September 22: The incredible Brad Turner returns to Cellar Live with a new album 'Magnificent', comprising nine original compositions, including its title track in homage to Thad Jones. Recorded partly live and partly in studio, Turner plays both piano and trumpet and is joined in this dream quintet by Peter Bernstein on guitar, Neil Swainson on bass, Cory Weeds on saxophone and Quincy Davis on drums. Release date October 20: Atley King is Canada's leading young Jazz Vibraphonist. He has studied with some of the greatest living masters of the music, and has a respect for the tradition that runs deep. His latest album for Cellar Music, Unconditional showcases this with eight original compositions presented by some of the finest musicians in the country; Max Huberdeau, Brad Turner, David Caballero and Arvind Ramdas. NYC trumpeter extraordinaire Antoine Drye & orchestrator Isaac Raz come together with an ensemble over 20 musicians and singers, to create this sumptuous album for Cellar Music. Recorded in the classic style of landmark orchestral recordings in Black American Music, such as Clifford Brown with Strings, 'Retreat to Beauty' delivers both covers and original compositions with a deft modern twist. Release date October 6: Premiere bassist John Lang releases his 1st album for Cellar Music entitled 'Earotica'. It features twelve original compositions written especially for a nine-piece band of NYC's finest. The result is the best kind of social music, constructed to engage both the musicians and the listeners. The music traverses many moods: gritty, pensive, lyrical, down-home and always with an emphasis on dancing!

Release date October 20: By titling his eighth Criss Cross album Over Here!, trumpeter Jim Rotondi picks up on the sentiments he signified with The Move, his seventh for the label. "It doesn't necessarily mean moving somewhere else, but rather returning home, playing tunes with a lot of straight-ahead swing and interesting chord sequences with guys I'm comfortable with, " Rotondi stated in the liner notes I wrote for that kinetic 2009 recital. The Album was recorded May 10, 2023 at the Artesuono Recording Studio in Udine (Italy). Recording engineer Mike Marciano did the editing, mixing and mastering at Systems Two in NY. Photography by Mauro Cionci

Release date October 20: Boston doesn't get enough credit as a jazz town. From the days of the Storyville club and Cambridge-based Transition label to the star factory that is Berklee College of Music, the city stands tall against more celebrated places like Chicago and Detroit. One big part of that high level of creative output is Jerry Bergonzi who, for this date, leads his most Bostonian band in recent memory, reuniting with trumpeter pal Phil Grenadier and drummer Luther Gray. Bassist Harvie S came up from New York for the gig and it was he who suggested guitarist Sheryl Bailey for the album. She completes the Boston connection with her position as the Assistant Chair of Berklee's legendary Guitar Department. "To work with Jerry and study and perform his music is the definition of a dream come true," says Bailey who has played with artists ranging from Ken Peplowski to Shingo Okudaira. Here, Bergonzi has convened a fine band for a compelling album, another feather in Boston's tricorn hat.

Release date November 15:

Release date October 20:

There's a review in today's Wall St Journal.

Actually, you have 3 on that one CD. Tracks 17-20 are from this 4-track 45: For the record, these are the other two:

Excellent record.

The Decca Sound - The Piano Edition, disc 7.