Leeway

A Blue Note afternoon: Joe Henderson- "Mode for Joe" - Henderson, Lee Morgan, Curtis Fuller, Bobby Hutcherson, Cedar Walton, Ron Carter, Joe Chambers- what a lineup. "Carribean Fire Dance" is scorching. A terrific album. Wayne Shorter - "Speak No Evil" Grachan Moncur III- "Evolution" -Another terrific lineup, Lee Morgan, Jackie McLean, Bobby Hutcherson, , Bob Cranshaw, Tony Williams.

Cool!

Should happen just about now!

A Big Rush...as we approach...

Wolff, did you bid? I did not, although I would have loved to have picked up that Larry Young LP Mosaic set.

That's a really good one. I don't think that made it to CD except for the Mosaic box. Anita sounds really, really good.

Also, why do these sets nearly always seem to appear "unplayed"?

It's chastening to think that someday, it will be one of us whose estate puts our dearly loved vinyl up for sale!

Not only on this board ... SCD-1 + Ultra Khan 2 (his new $4500 power cord) Is Greg posting anywhere these days? I don't see him much at AAJ anymore.

Lee Morgan- "Candy"- King pressing. 20 year old Lee Morgan as lone horn, with Sonny Clark on piano. A gorgeous rendition of "Since I Fell For You." Duke Pearson- "The Right Touch"- Liberty pressing- a horn heavy lineup- Freddie Hubbard (tp), Garnett Brown (tb- hey does anyone know more about Garnett?), James Spaulding on alto, Jerry Dodgion on alto and flute, and Stanley Turrentine on tenor. Pearson is an ever-inventive arranger.

Question: Where does the title, "Black Fire" derive from? I was under the impression that the title was a reference to the civil rights movement and African-American political consciousness; however, reading the liner notes for the new RVG edition, nothing is said about the derivation of the title. Anyone have any information on that? If it was a reference to the African-American political condition, can anyone tie it to the music itself? One note on Joe Henderson's playing, which is fine indeed, not so much for virtuosic reason, but, I think, because Henderson conveys the impression that he really understands the composer's intentions, and is working within the composition, helping to realize Hill's musical ideas. This is a classic Blue Note ensemble performance.

Wolff, I'm not in the market at the moment, but what tube amp do you have, and what did you pair it with? As for buying on audiogon, I would suggest that you search the threads at www.audioasylum.com, where there is a lot of audiogon-related activity. Mostly, I've hear good things, but there have been some horror stories. As for buying speakers, I would suggest that you try to find sellers within your driving area and see if they will let you audition the speakers before buying. This also eliminates shipping problems and expense (something to consider).

I would have thought that the RVG remasters might be a way for BN to protect their copyright. Especially when tracks are added to the original release. Book publishers do this all the time. They offer a "revised" edition, with some editing changes, and, in many such cases, are able to extend the copyright by claiming the the new edition has been substantially changed and theirefore deserves copyright protection, Good examples of these are the works of Hemingway (Scribner publishing) and Joyce (Random House). I can hardly believe that Lundvall or Cuscuna are not going to do everything possible to protect Blue Note's back catalog.

First of all- songs equal music and lyrics, no? On that definition, I offer the following: Lennon/McCartney- absolutely. I was recently listening to Rubber Soul, Revolver, Beatles for Sale, Help!- just those albums alone yield dozens of gems. I was reminded what genius these two had in their creative time. The whole corpus of works is unparalleled. Bob Dylan- songs of enduring influence. Add my vote for the Bee Gees- dozens and dozens of excellent pop songs. Others that come to mind: Chuck Berry; the Beach Boys, Jagger/Richards

Not discussed so far is the price of this CD: $27.94 list (an odd list price), discount price $22.99. That's a lot of money, isn't ist? Twice as much as for a CD of the original. I suppose that's to be justified by the "limited, numbered" nature of the CD. KOB seems to invite this sort of thing. Didn't Classic Records raise a ruckus with its various "limited" blue vinyl editions? Anyway, this "numbered, limited" thing tends to emphasize the commercial, marketing-driven quality of this CD, over its artistic ambitions. Having said that, listening to the rather generous clips on the CD Baby site, suggests a well-played version of KOB, if not the revelatory performance suggested by the promo material. I might want to give it a try, but that price is a sticking point.

Thanks for the link. Some good photos. In the "Actual" link, I particularly liked (for their compositional elements): Roy Hargrove and Nicholas Payton, Berne 2002 Regina Carter, Berne 2001 Nathalie Claude, Langnau, 2001 Weston and Santiago, Berne 2002 From the archives: Hubbard, Nice 1984 (it reminds me of that famous Mobley photo by Wolff, but with an odd twist) Gillespie, Montreux (although big-cheeked Gillespie photos are something of a cliche by now)

That's the trick and it can get tiresome if you keep finding worn copies that play like fried chicken in the skillet. I probably would still be doing lots of record hunting, but stores in my area have all but disappeared. Wolff, I hear ya. I'm not knocking audiophile pressings, per se. I have a number of them myself (maybe 6-10). They certainly have their role to play. It's just that they are often marketed with the implicit idea of "perfect sound." From the online chat that I have read on various boards, it seems when we get one of them, we expect perfection (or damn close to it) for our $30, $45, or $50. By contrast, when we pick up a $2.00 stray, get it home, and "rehabilitate" it, we accept it's imperfections, as well as its virtues. The music is the important thing. The sense of history, of provenance, of kismet, add to the charm of the record. Anyway, when I'm out scouting for LPs, I do try to avoid those that will most likely have that "fried chicken in a skillet" - (great description Wolff!) sound. Granted, not always easy to do, even on clean looking vinyl. I've gotten less picky, though. I'm not obsessive about some surface noice. I take it as part of the "vinyl experience."

There is an FBI warning even at the start of porno movies (about copyright, etc), not that I have ever watched such stuff

I was wondering if the presence of so much "early" jazz, 78s, pre-bop Lps, etc, and the lack of bop and post-bop LPs, is a reflection of the dealers' area of interest, or just that the really hot items, like Blue Notes from the mid-fifties to mid 70s, were already snapped up in pre-sale dealing? I used to be heavily involved in the used book trade. That would go on all the time. The really strong bargains (underpriced items) would get snapped-up in dealer -to-dealer transactions. The stuff would hardly make it off the back of the van. Of course, astute collectors could still find good items after the show opened, based on their knowledge and/or specialized interests. BTW, I'l just add that, IMO, the BN craze (for that's what it is now) will probably not outlast its BabyBoom participants.

27 bids, but only one bid that really made sense- the first. That's a ridiculous set of bids, but I'm sure the seller is quite happy.

Yes, I think you're right. It's harder to warm up to some $30 audiophile issue than to a $2.00 castoff rescued from further meglect- especially when it ends up playing like one of those $30 discs, maybe even better. Those original disc have an almost talismanic power.

These seem easier to find on vinyl than CD (if we're thinking of the same line). Don't these go by the Italian, "I Gigante dei Jazz"?

Thanks. Might use it. Not limited to CDs. Another way of having a 20% off sale.

DENON SACD/DVD Can be had for about $500.

Labels can be a thing of beauty. Another reason to love vinyl.