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Been hoping Jomboy would do some older video breakdowns. this is an instant classic 3:47 had me laughing. and Joe West was an a-hole his entire career.

Fellini, Godard, Herzog... the Coens, Aki Kaurismaki, Roy Andersson, a soft spot, for different reasons, for David Fincher's, Spike Jonze's and Alexander Payne's films as well.

Apparently Pha Teryell is off-putting to some jazz purists.

Watching relative buttload of 1930-1932 Cagney movies on TCM streaming and have become a bit impressed by the tight effectiveness of Roy Del Ruth. If "modern" movies are multi-CD concept albums, these films are 78s, a lot gets done without wasting time. Del Ruth slumped for a while and occasionally came back, but these are some good movies.

That would be fine too!

Thanks for posting the Mosaic notes acknowledging the sound issues with the 1961 live session. Returning to my original post on this thread, has the earlier 1959 live session (‘At the jazz corner of the world’, not ‘meet you….’) had any reissue since the 1994 CD twofer? If not, this seems odd, given most Blakey Blue Note material has had numerous reissues in various formats. It’s a great session too.

Or just do an Andy Kirk set.

The Hampton/Hines record is dandy! But those guy defaulted to dandy. The Bull Doggett record was fun as well.

Agree completely! Might be an interesting challenge to decide which Andy Kirk recordings to include, but I'd sure like to hear that selection!

They have shown up on a number of budget labels under a number of different names. I've heard many of them, have held onto a few, they are pretty routine affairs for the names involved, nothing revelatory or near to the standards of the artists' best or most meaningful work. But nothing wrong with them, either. Hampton actually does play on many of them.

Neither one. I'll have to explore those, and I can certainly understand having a bit of difficulty with Lanthimos films. I liked "Poor Things" and "Bugonia," "The Lobster" and "Kinds of Kindness" less, but like him or not, he certainly makes interesting and original movies.

Well, a major reason I'm interested is that I have not heard most of them. It may indeed be that they're not all that impressive, though, given the people who recorded for the label, it sure seems to me like there must be some good stuff there. As for "Lionel Hampton presents," that's just marketing. Hampton was--or maybe imagined he was-- a very big name, and while Mulligan certainly was a giant of the music, if one was trying to appeal to a more general public, it's possible that putting Hampton's name on the record might--I repeat, *might*--sell a few more records. I'd just like to hear them all in Mosaic order!

The fade Beta released some demo's and it sounds promising. https://www.youtube.com/watch?v=NjxuL3y2c6w

I read that as well. I guess it can sound like a Monk/Clark mix (though I couldn't spontaneously identify it as a Monk nor a Clark tune 🤷‍♂️). Either way, one of my favorite Blue Notes. Great band! Now sampling:

Albert Ayler “Summertime to Spiritual Unity” ezz-thetics cd

👍

Yes, thanks for explaining that. I wondered about those multiple options that come up occasionally.

I stand corrected! I had this confused for the Train Wreck session, definitely do not have a copy.

That'll be a fun trip!

This interesting information is from Robin Kelley's book on Thelonious Monk. "Thelonious even kept his music at Nica's, usually in a briefcase next to the piano. Fire was his main concern; he never worried about theft. That is, until he heard Jackie McLean's LP, "A Fickle Sonance", released later in the year. One of the cuts on the album, "Five Will Get You Ten", was credited to Sonny Clark, the pianist on the date. The song was actually one of Monk's compositions, "Two Timer". He had written it at Nica's but had not recorded it. Monk may have shared the lead sheet with Clark;l he may have even played it for him. But Clark was a frequent visitor to the "Cat House", and he even lived there off and on. His herion habit was out of control, and like most other junkies he resorted to stealing for a fix. Neither McLean nor any of the other sidemen suspected that the song had been stolen. To my knowledge, Thelonious never confronted Clark about it nor mentioned it to anyone. He just let it go."