Leeway

I'll ask my psychologist next time I see him. Let us know what he says

Mr. Cobb has his own web site! Jimmy Cobb Web Page

I noticed that that seems to be a category of "anonymous members." How does that work? Why would people choose to be "anonymous"?

Can't find it now, but there was a good article on Cobb in Jazz Times within the last year. From the article, it appears he is in good form and still quite active in clubs and recording studio.

I just want to add that I gave the LP a spin, and it is a MUTHA! Talk about total presence and impact. I felt like I was right there with Mr. Turrentine. And thanks for all the good info. I learned something, and that's what it's all about.

PM sent re: Leo Parker.

Stanley Turrentine- "Rough 'N Tumble" - NY USA/Liberty MONO (see my other thread on the odd discographical issue with this LP)- totally kick ass sound- like you are RIGHT THERE with Stanley--terrific lineup; Lou Donaldson- "Midnight Creeper"- Liberty- a Francis Wolff production. Funky playing as only Lou can do it. I love the cover- one of those "girl covers" - not by Reid Miles but would have done him proud; Nina Simone- "Forbidden Fruit" - Colpix- what a fabulous singer, a singer of real distinction and power. Lee Morgan- "Sidewinder" - Liberty- as the guys at Penguin comment- this LP was both the best and worst thing to happen to Lee from an artistic standpoint. Still a lot of fun to listen to.

Reading the liner notes for "Woody III" by Amiri Baraka, Baraka comments that MUSE Records was "the Blue Note and Prestige of the '60s." Actually, that line appears as a quote in Baraka's essay, and it's not clear if he's quoting Woody Shaw, or some other unnamed source. Anyway, it got me thinking about Muse. I really don't know much about it. Maybe this would be a good place to discuss its history, who owned and ran it, its key artists, what happened to the label (I know a lot of Muse titles are offered by Evidence Records, and I think a lot of them found their way into the 32 Jazz catalog). Finally, was Muse the "Blue Note and Prestige of the 60s"? (Actually, as BN and Prestige were still going quite strong in the 60s, at least the early and mid-part of that decade) , maybe this line should be read as Muse had the importace in its time (the 70s?) that BN and Prestige had in the 60s? In any event, was Muse an "important" label, and did it have a significant influence on contemporary jazz?

What d'yall think of the Silver release? From what I've read here and elsewhere, these albums are not among Horace's better-regarded efforts. For example, from AMG: OTOH, there seems to be a growing appetite for "funk, fusion, soul jazz, African spirituality and hippie mysticism," and it's hard to think that Horace and Harold Vick together can be all that bad?

Well, I'm glad we got THAT settled I'm calm now I can just see the scene at the record pressing plant: JOE: Hey, Charlie, you runnin that Blue Note stuff? CHARLIE: Yeah, runnin it right now. JOE: Did you see those new labels they sent us.. Library or Liberty or somethin? CHARLIE: Uuuh, nah, aint seen nothin JOE: Oh yeah, new owners, new labels. CHARLIE: Oh, uh, um, yeah, OK, hey Joe, I gotta go fix somethin... see ya

I don't know what I can add that might be useful. The selections were made by TL's editors, mainly Jerry Korn, Phil Payne and Jeanne LeMonnier, all great people to work with and all jazz enthusiasts, but not experts. As annotators, we had the great advantage (apart from receiving fees that would be outrageously high even 25 years later) of being able to avail ourselves--through the editors--of TL's amazing research department. As a result, the notes often contained new information, interesting (albeit sometimes trivial) details that previously had escaped the inquiring minds of low-budget jazz writers. Thanks Chris. Those high fees sound pretty nice! Thanks Mr. Luce (or at least his money), I suppose. Is there anything you can add on the quality of the transfers, viny, etc? How would these sets stack up, let's say, against Mosaic's LP sets?

I'm not sure they are "fairly common," as I've gone through a lot of vinyl myself and not seen it, but obviously they are out there. Wollf, could you be more specific which mismatch you have. I find these kinds of things interesting. I suppose these mismatches take place at the pressing plant, but I wonder why and how they happen? Edit: Let me add that, in the used and rare book trade, where I spent most of my life (and still have a foothold), "rare" is considered something that you run across once in a lifetime. 'Scarce" is maybe once every five years (roughly). "Common" is something you see all the time. I would think by these definitiosn that mismatches (or mutants, as Dmitry calls them) are 'scarce." FWIW

Yes indeed Dmitry, it has "BNLP 4240" and "van gelder" stamped in the deadwax. Thanks for pointing that out. Do you have the same mismatch (Liberty/NY USA) or some other?

This is a great group of titles. I'll get all but the Wilson, which I already have. But at this point I can't figure out BN's reissue policy. For example, at least several former Conns are coming out as RVGs. One I'm really surprised to see make a re-appearance is "Little Johnny C"- which didn't do very well as a Conn and is now back as an RVG. There are others ( McLean's Destination Out comes to mind). Is it now about re-issuing re-issues? It also looks like all the stuff from the BN Mosaics are eventually finding their way into individual re-issues.

He frequents this board. If Chris notices this post, maybe he can add some background and additional information on these sets.

I picked up a Stanley Turrentine LP, "Rough 'N Tumble." At the bottom of the back cover, in large block letters, it says "MONAURAL" and "Also Available in Stereo." Address given is 43 West 61st St, New York. Here's the odd part: On Side 1, it says "Blue Note- A Division of Liberty Records" On Side 2, the label says, "Blue Note, New York, USA." I've never seen a BN LP with mismatched labels. Maybe some of you who have been collecting longer have (?). Does this seem pretty unusual? Have you come across it before? I'm pretty happy to find a mono copy too

Was let out of work a little earlier today, got to listen to some vinyl: Andrew Hill, "Nefertiti," Inner City. Complex, interesting music. Hill's piano solos sound orchestral at times. Woody Shaw- "Woody Shaw III" - Columbia- with some of the longest liner notes I've seen on a single LP, 2 sides of the inner sleeve, by, somewhat surprisingly, Amiri Baraka, saying good things about a fellow Newark, NJ resident- long, sometimes rambling notes, but often illuminating and informative. Billy Taylor Orchestra- "The Original Jazz Score of 'Kwamina' " Mercury Mono - with Clark Terry, Phil Woods, Jimmy Cleveland, and others. Good playing but the music is nothing special. Cal Tjader- "Warm Wave" - Verve- lush Claus Ogerman string arrangements, stops just this side of kitsch, which is maybe why I like it. Produced by Creed Taylor, this LP lists both Phil Ramone and Rudy Van Gelder as recording engineers! I don't think this one made it to CD -with all that lush orchestration and over-the-top vibes it's a natural for analog.

I don't know why anyone is apologizing. The topic of the thread is pretty clearly stated. The posts have been informative (this whole issue has been fairly well obscured until now). The issue is important from the point of view of collectors and of MUSIC LOVERS. If this thread is wrongheaded, then about 90% of the other threads on this board are no better. AJF67, I think you've been awfully nice about it all. I'm rather more pissed but I suppose there is little to be gained from further controversy about it.

Doesn't anyone at Mosaic listen to the set before it goes out, or check and verify the contents? This has been a perennial problem for BN and Mosaic. Most recent gaffes, the Eldridge cover photo, and the Moncur disc. If availability of personnel is a problem, I bet you that a call for volunteer help would net a good sized bunch of capable folks willing to help with production issues- just for the love of the music and of Mosaic (and maybe the chance of a free set ).

That's probably because they're digital Just kidding Wolff, let us know how they sound, and I do hope you enjoy them.

Carmell Jones Select, DIsc One- it's all good, and exceptional sound too.

Sorry Dmitry, bit I can't agree with you. I do not think digital LPs sound better than CDs, especially if the CD is one of the more recent 20 bit or 24 bit CDs. Digital vinyl still strikes me as an oxymoron. I'll pick up a digital LP only if the MUSIC (wassup Chuck ) s otherwise unavailable. BTW, the title of this thread is Mosaic LP sets, digital or vinyl? - seems to me the topic is pretty clear stated, and the posts are on-point.

CRAP!! Is this the sound of the high bidder for the Larry Young Mosaic on EBAY?

If I remember right , blue is mono and black is stereo. Thanks, that makes sense. BTW, re: Rolling Stones mono. That "December's Children" sounds tasty. I just picked up a mono copy of the Stones "Got Live If You Want It," not the most artistic Stones effort, but raw and energized and in the moment. I'm looking forward to giving it a good spin. I also picked up a copy of The Animals "Animization," which I'm really pleased to find. This is the US version. It is also a mono copy. I'm not sure I agree with you about the Stones needing a George Martin type. I really admire what George Martin did for the Beatles, but I'm afraid that a Martin type would take the raw quality out of the early Stones music. It's the seemingly unproduced quality of their music that captures me. This starts to disappear later on I think. The Stones did have someone who appeared on the early albums in a vaguely defined role - Jack Nitzsche. Anyone know about this guy? Stones, Animals, Zeppelin--I expect a rave-up Friday! Hey, I thought this was a JAZZ forum..... :rsly:

"Cannoball Adderley Quintet Plus"- with Wynton Kelly on piano. Riverside RLP 388, MONO. This is another Bill Grauer Production, produced by Orrin Keepnews, recording engineer Ray Fowler. Vivid sound. This copy has a blue label with silver lettering. I seem to recall most of these Riversides have a black label. Can anybody enlighten me on the labelography for Riverside? The jacket of this copy says Riverside Records, 235 W. 46th Street, New York.