Leeway

Agreed, but that's DESPITE Evered and BN. THEY wanted to punish us by closing the BNBB. B3#er stepped in heroically and made this site work for us. But Evered dismissed us like stray dogs. I don't give a dman where he is, but I do give a damn what he's doing, as what he does affects BN tremendously, and jazz in general. That he chooses to cut himself off from the many BN loyalists here shoudl tell ya something (and it isn't good). Not sure where the strech is, as you say yourself, this board "contain the greatest single concentration of former BNBBers." That's exactly my point, which I thought was clear enough. That's why it's insulting that Evered and the rest of BN management chooses to continue the attitude they displayed near the end of the BNBB.

Here's a question implict in Santana's comments: Has the mainstream media's lack of attention to jazz been fundamentally a matter of race? WHY such a lack of attention?-- one must ask. Perhaps because jazz is identified as race music in much of the public consciousness, and therefore not to be given too much attention, ignored? Instead of accepting the lack of attention to jazz as a given, we should always ask why that is. For example, check out the ownership of radio stations. Most are owned by two huge right-wing media giants, Clear Channel being the worst. They have homogenized the radio market so that wherever you go you get the same formulaic pap-- e.g, thousands of hours for Jessica Simpson. There are very few forums for jazz to be heard nowadays. Yes, Santana's comments are uncomfortable. I don't think Carlos is a racist; he's been open to playing with, and addressing, all musical segments. But I think he's conveyed the racial frustration and antagonisms that are under, but still close to, the surface of American life. Seems like Santana's realing feeling it now. That's worth noting.

I second that opinion. I haven't picked up the Mosaic as I have quite a bit of it already, much on vinyl, some on CD. Anita is terrific and, odd to say maybe, but still underrated in many quarters.

Maybe BN did not want anymore albums with Cole listed as leader?

That Evered notice has the smell of ego all over it. Really, of all the unmitigated gall (as they say)! Not blaming XRICCI- he's doing what he can for his site. But Evered knows that the BN faithful" are concentrated here, yet he chooses to blow us off. Frankly, it bugs me.

Hey, c'mon man. You must admit to what you purchased from Mosaic and submit the results, the complete, results in this thread. Don't you know nothin'? You'll never drag it out of me :rsly: Hey come on, there must be some thoughts on which Mosaic are moving quickly? If my estimate is correct, Mulligan wil be gone by end of year!

I was listening to my "Little Johnny"- Johnny Coles - Conn, and persuing the liner notes, from the original album, which are by Duke Pearson. It really struck me on this listening how much of a Duke Pearson album this is. All but one of the songs is by Pearson (with one by Joe Henderson) Then I read the last paragraph of the liner notes by Duke: "So, with given permission to prepare this album, the original compositions contributed, piano accompaniment, and the writing of these liner notes, it gives me a great honor to pay tribute to such a little giant as 'Little Johnny C'." Sounds like Pearson is saying - "Hey, I've done just about everything on this album except deliver it to your house. My name should be on the title." Did Pearson do this album as a favor to Coles? Or was Pearson trying to help the label develop another artist (I recall reading that Pearson took Ike Quebec's place as BN's artist liaison). Should one consider this a Pearson album in disguise"?

I'll have to check that out. Thanks for the post. I'm listening to "Blue Hour" -- Stanley Turrentine with the Three Sounds. I've got the "Blue Hour" LP on Affinity, sounds to me like simply a repackaged BN, pretty good sound really. Anyway, great mellow, bluesy feel to it.

Due to the diabolical free shipping offer from Mosaic, I went a little overboard. I won't admit the full scope of my indulgence, but I did acquire, among other things, the Mulligan and Gerald Wilson sets. Mulligan was numbered in the 2800 range (if I read the hand-numbering correctly) and Wilson was already in the 2900 range (too lazy to get the boxes and get the exact number). This indicates to me that these sets are selling at a brisk pace. I wouldn't be surprised to see either sell out by year's end. Am I right on this? And what other sets are moving fast? Can anyone identify the fastest selling Mosaic? Just curious. Some sets seem to hang around forever, but there seem to be a few that meet their sales mark pretty quickly.

Let us know what set number you get. Curious: what's the lowest set number anyone has got from Mosaic? I've never bought a set upon issuance. Who gets set #1?

Let's face it, if we did have 5,000, and someone came out with some new Lee material, we'd end up having 5001

Yes, the hell with this egalitarian business! Howza bout "Organissimo Insider" and "Organissimo Pioneer" categories, etc.? You know--backstage passes to party with the band, access to "secret" parts of the site, and, for the really big spenders, the creation of honorary forums named after them? B) You must have this site mixed up with the Republican National Committee site How about for REALLY big spenders, you get to, er, rig the post count? I love the idea of "honorary forums" What a hoot! Gotta try the donate button.

Is this title due for the RVG treatment any time soon? Also, I can somewhat understand the lack of critical enthusiasm, as the "Sidewinder" boogaloo-type piece really got way overdone. It seems like nearly every post-Sidewinder BN had at least one track like Sidewinder. Not Lee's fault, but the label really went overboard trying to get another funky hit. Lee had far more going for him than that, as he showed before and after Sidewinder.

I always request UPS. AE is a pain to deal with. I suspect that feeling is fairly common (?). Maybe Mosaic is also finding it easier to deal with UPS.

Just picked up a vinyl copy of my avator. Also looking forward to digging into my Mosaic VeeJay set.

Who knows, what with the convergence of audio formats, we might end up with an HDCDXRCDSACDCD What would Greg do then?

Wow, a lot of great ideas and suggestions! Obviously, licensing issues and economics play a big part, but Mosaic has no excuse based on lack of appealing material.

The cases might be cheapo, but there has been some good music inside those cases. I'm glad to have my 32 Jazz Woody Shaw CDs, for example.

So who should have gotten the "Mosaic" treatment but have not? I'm thinking especially of Blue Note artists, but all suggestions welcome. First on my list is Bobby Hutcherson. Why he never got the Mosaic treatment is beyond me. I think there is still enough unreleased or OOP material to justify a Hutcherson Mosaic, or at least a Mosaic Select. What think you?

Isn't most of the Blakey Mosaic available in single CDs at this point? What's in the box that isn't otherwise available?

Some people can't control themselves in an auction setting. It becomes a matter to them of getting the object at any cost, or more precisely, not letting the other guy get it. The bidding is ego-driven. If you can your cool, you can often get the same item at a decent price; if not on one auction, then the next.

no, that's not the one. The one I mean is titled "Hank Jones Trio (plus the flute of Bobby Jaspar)" and "Hank Jones' Quartet" on the back cover. Front looks like this: I think though, that the Camarillo album you have features the exact same music, no? The "Trio (+Jaspar)" disk has: 1 Moonlight becomes you 2 Relaxin' at Camarillo's 3 Minor conception 4 Sunday in Savannah 5 Spontaneous combustion rec. 21 August 1956 Jaspar is absolutely marvellous on flute here. This album wanders over to my player rather often. These people have a very nice relaxed vibe going and the velvet of Hank on the keys is mirrored in Jaspar's flute to full effect. Yes, those are the tracks. I have this on SJL 1138. Wonder why the different titles? Interesting to note that the recording engineer was Rudy Van Gelder, and the dubbing [??] and editing was done by Malcolm Addey. Pretty good studio hands! I'm not really a big fan of jazz flute, so I don't have a basis for comparison. But I will give Jaspar a closer listen.

I posted this earlier in the Vinyl Thread. Couw, is this the album you were referring to? "Oh yes, one more jazz LP I listened to Friday- Hank Jones- "Relaxin' at Camarillo"- all-star lineup- with Kenny Clarke on drums, Paul Chambers on bass, and, the reason I really picked this LP up-- Bobby Jaspar on flute. Hard to define Jaspar's sound. I've only heard it once, I like it, need to give it more listens to get a better sense of Jaspar's style on flute." What do you all think of Jaspar's flute playing versus his tenor sax playing?

The last outage made me realize (again) how much I appreciate having this Board, and how much a part of daily life it has become (is that healthy? anyway...). So, donations towards it health and well-being are certainly merited; count me in.

I've been all over the map this weekend with my listening: Anita O'Day- "Waiter, Make Mine Blues" Procul Harum- "The Best of Procul Harum" (P.H.- one of my guilty pleasures) "Gabor Szabo Live with Charles Lloyd"- I need to give this another listen. LLoyd is on flute. The Band- "Stage Fright" Carmell Jones- "Jay Hawk Talk" Bergenfield Prestige issue-great stuff, great sound. Lee Morgan- "The Sidewinder"- a scratchy NY USA pressing. Barney Kessel- "Easy Like Vol.I" (Contemporary C3511) And my weekend favorite- Pete LaRoca- "Turkish Women at the bath"- a reissue on Douglas label; pretty good sound, great music!