JETman

What is a "hard core" Mosaic buyer? I've got a ton of Mosaics, and have musical tastes which are all over the map. Yet, I'm definitely into purchasing this set.

The same thing happened to me when I purchased the set. I got the same response from them as you did. As a matter of fact, the person I spoke to mentioned that they had gotten alot of complaints about the type of jewel case you describe. In any event, they are and will remain a great company -- part of a rapidly dying breed, I'm afraid.

Can I trade you some Barry Bonds rookie cards for those CDs, Dan? Rookie cards? No. Prison Softball Team card, absolutely. I'll give you two for one if you throw in a Clemens "Solitary Confinement" card. In Philly we want Adam Eaton arrested for (poorly) impersonating a major league pitcher. And for stealing $25,000,000 over a three year period. I suspect that soon you'll be feeling the same way about Joe Blanton.

1 New York, Fall 1974 2 Five Pieces 1975 3, 4 The Montreux/Berlin Concerts 5 Creative Orchestra Music 1976 6 Duets w/Abrams 7 For Trio 8, 9, 10 For Four Orchestras 11, 12 Alto Saxophone Improvisations 1979 13 For Two Pianos 14 ?? Although they do not have the paperwork on this set yet, I've confirmed with someone at Mosaic that the missing album is definitely NOT "Time Zones" with Teitelbaum.

Brad, I've already got some of this stuff. Would you mind telling me the timing for each of the cd's in this set? Thanks, John

This is you from post #115. It seems like you need to be reminded: I grew up in NC, where I had to learn how to forage for goodness in lieu of having it served up. But we had music here when I was 3 too. I was six when I missed Monk's week at the Frog & Nightgown. I did see the Monkees that year. My memory's pretty vague, but it's my understanding that Hendrix opened that tour. My 5 year old likes the Monkees. New Yorkers have nothing served up to them...........unless your name is Donald Trump!

Thanks, I needed that.

Very odd given my last post.

Any jealousy sensed is a (very strange) product of your imagination. Strummer/Jones did write great tunes, and your inability/unwillingness to see that is pretty much the problem here. I don't keep up with the rock the way I used to. 'Cause I am old. I don't write it off w/out listening, though. And now, my favorite tune from the last 5 years: The Good the Bad and the Queen, Friday Night in the Kingdom of Doom Let's compile a list, folks. First of all, aren't you the one who said that New Yorkers had everything spoonfed to them? Sounds like jealousy to me. My dislike of the Clash is not a problem from where I sit. Just a matter of taste. It's very strange on your part that you seem to believe that great discussions are only the product of complete and total agreement. Let's say for argument's sake that the Clash wrote a few good tunes. Still comes nowhere close to the number of GREAT tunes written by Lennon, McCartney or both, or even Pete Townshend or even Bruce/Brown as mentioned above or Page/Plant. The list goes on. I can appreciate a good tune in today's music. As a matter of fact, before I went whole hog into jazz about 16 years ago, I tried really hard to LIKE the music of the day. I researched, I spent loads of money on cd's, etc. I found nothing, and I knew I couldn't just limit myself to classic rock. That's when I found King Crimson. They in some way appealed to my burgeoning jazz sensibilities. I still buy their cd's to this day. I also do not keep up with rock the way I used to. I choose to focus on my love of jazz. The only reason I even still listen to rock these days is because it gives me another way to circumvent the generational divide between me and my children. I listen to their music -- even Green Day, hip-hop, rap, Disney Corporate pop, etc. But every once in awhile I'll take the opportunity to share the music I grew up on with them. And believe it or not, it gives us something other than sports scores and play dates to talk about!!! Anyway, I understand differences of opinions, and maybe I was being too aggressive in sharing mine. But, it's just that -- my own opinion.

How's that one? I'm not quite sure if I need to get it... but as I decided to buy them by number/release date, it will be a while before I'll have to decide... I like it alot, maybe just a little less than Pendulum. It consists of all live material in 3 different settings: Lookout Farm, Liebman/Beirach duo and Quest. IMHO, it's worth it just for the variety alone.

You may be right, but the question remains: where are the stars? Stars of the past didn't need no stinkin' press agents. This is a function of today's corporate environment. Tell me truthfully, though -- do you hear any guitar solos today that make your hair stand on end? Like, for example, Clapton's duo of solos in Cream's live version of "Crossroads", which still gets me everytime. No need to flame, that's just one that does it for me. I do not hear the same kind of virtuousity in the rock and roll of the last 20 or so years. Please stop with the Clapton. Please. What went wrong with virtuoso rock? Punk stuck a big-ass fork in it. Edited for extra snark. Why so snarky, sj? Why not just stick to answering the question. Punk was not a reaction to virtuoso rock, it was a reflection of the changing times. It was what it was, and everybody knew it sucked (and had little staying power in order to stick a big-ass fork in rock, as you say), but they listened to it anyway just to be "hip". Did you actually think that bands like the Clash could "play" their instruments? Again, please point me in the direction of music with staying power. I beg you. I'm open-minded, and young. I promise I'd be willing to listen. A)Strummer/Jones wrote better songs than Clapton. Shelley/Diggle wrote better songs than Clapton. Paul Weller wrote better songs than Clapton, and occasionally still knocks one out of the park. It was never about virtuosity or star-power, it was about the tunes and passion. It was about youth and not about the old farts of the last generation. B)There's a long list of current music with "staying power" in this thread. Go. Listen. You and I are the same age, dude. I guess that makes you an old fart too. I was just using Clapton as an example. That's all. I haven't liked anything he's done in the last 35 years or so. But surely you're joking by citing Strummer and Jones as examples of superior songwriters!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! And if it's really about the tunes, name some great songs from the last 5 years. Listen, I'm not gonna get in a spitting contest with you, but what I'm sensing is maybe a little bit of geographic jealousy on your part.

Well, maybe its just that the virtuosity that you seek is not so much lacking as less projected. The great player stepping up into the spotlight for a solo (with or without a bow!) ceased to be acceptable from the late 70s; but that does not mean that there's not some virtuosic playing going on in support of the overall music. There's perhaps less overt grandstanding (except, perhaps in metal). I was a big King Crimson fan in the early to mid-70s. When I listened to the Discipline band in the early 80s I just didn't get it. Fripp seemed to have stopped playing. And it was interesting that later on he even cut out what I thought of as one of the great Fripp moments, the short solo on Matte Kudasai. Much much later (late 90s) I tried again and the Discipline era made sense and I could hear that despite the lack of up front soloing there was a lot going on in the textures. If the surface interested me I'm sure I could find plenty of virtuosity in contemporary playing. We all have to learn that each of us can only ever see a small part of the whole. It's a grave mistake to assume that the parts we can't see are not of value. I am a fan of Discipline era Crim.

Yes, my "jet" are my initials, whereas his is the name of one of his 2 dogs.

Neither Clapton, nor long solos were ever the point!!! Insert the name of the virtuoso of your choice. It could be Norah Jones' dad for all I care. Wait, that's opening up a whole other can of worms.

That's true. Unfortunately, though, it's not aimed at you, either.

You may be right, but the question remains: where are the stars? Stars of the past didn't need no stinkin' press agents. This is a function of today's corporate environment. Tell me truthfully, though -- do you hear any guitar solos today that make your hair stand on end? Like, for example, Clapton's duo of solos in Cream's live version of "Crossroads", which still gets me everytime. No need to flame, that's just one that does it for me. I do not hear the same kind of virtuousity in the rock and roll of the last 20 or so years. Please stop with the Clapton. Please. What went wrong with virtuoso rock? Punk stuck a big-ass fork in it. Edited for extra snark. Why so snarky, sj? Why not just stick to answering the question. Punk was not a reaction to virtuoso rock, it was a reflection of the changing times. It was what it was, and everybody knew it sucked (and had little staying power in order to stick a big-ass fork in rock, as you say), but they listened to it anyway just to be "hip". Did you actually think that bands like the Clash could "play" their instruments? Again, please point me in the direction of music with staying power. I beg you. I'm open-minded, and young. I promise I'd be willing to listen.

You may be right, but the question remains: where are the stars? Stars of the past didn't need no stinkin' press agents. This is a function of today's corporate environment. Tell me truthfully, though -- do you hear any guitar solos today that make your hair stand on end? Like, for example, Clapton's duo of solos in Cream's live version of "Crossroads", which still gets me everytime. No need to flame, that's just one that does it for me. I do not hear the same kind of virtuousity in the rock and roll of the last 20 or so years.

I pre-ordered this, and received my copy yesterday. I have just finished listening to all 3 discs for the second time! This is burning, wonderful music. I have no better way to decribe it than Mosaic does on their website: Fueled by Al Foster's unrelenting fire, Liebman, Brecker and Beirach take chorus after brilliant chorus. This might be the finest example of what an extraordinary improvising artist Randy Becker is; few recordings capture him at this level. This is hard-hitting modern jazz performed by musicians who grew up on hard bop and informed it with the later innovations of John Coltrane and Miles Davis. I wholeheartedly agree with what's said above. Liebman and Beirach are great, of course. But it's the playing of Foster and Brecker in this context that is the real revelation for me. This set may turn out to be one of the real gems of the Select series. The others for me are the Bechet, the Hill group, the Tolliver and the Liebman/Beirach.

I'd be curious to know what Braxton paid Crispell, Hemingway and Dresser back in 1985.

That's a big affirmative. Thank you too, Shawn. How's this for impact?: Which drummer is sampled on just about every rap and hip hop record put out here in the good old US of A? I'm going to guess John Bonham. I would think that Clyde Stubblefield has been sampled a HELL of a lot more than John Boham. How about Jerome “Bigfoot” Brailey or Ramon "Tiki" Fulwood? Tony Thompson? I would think that all of those guys have been sampled more often than John Bonham! You are incorrect. Bonham has been credited by all the usual suspects in those other genres. Shall I start a new thread?

That's a big affirmative. Thank you too, Shawn. How's this for impact?: Which drummer is sampled on just about every rap and hip hop record put out here in the good old US of A? I'm going to guess John Bonham. You are correct, sir. And please let me know when Dave Grohl is similarly honored (or dishonored, as the case may be).

That's a big affirmative. Thank you too, Shawn. How's this for impact?: Which drummer is sampled on just about every rap and hip hop record put out here in the good old US of A?

There's your problem. Boomers...ugh. They think they invented everything interesting or important since the end of WWII. "I was there, man. I remember where I was when JFK was assassinated..." Speaking as a baby BUSTER (born in 1970 when people just weren't having babies), I have to say that I REALLY came to despise the boomers as a grew up. Nothing was EVER geared to people my age. It was either aimed at my parents or my younger brother. There weren't enough people my age to make it worth their while. Then the early 90s happened. And there was something that was just being made by people MY age. And it was bitter. And dark. And nihilistic. And wonderful. It put all the flower power shit up against the wall and pulled the trigger until the chamber was empty. I still listen to Nirvana and Pearl Jam and Beck. Hell, yeah! I do love music from the sixties and seventies, I just don't fool myself into thinking that it's the only stuff that matters. Best songwriting team since Lennon/McCartney? Morrisey and Marr! I salute your spirit but dispute your analysis. Equating Morrissey and Marr with Lennon and McCartney is so wrong it's funny. When one of your innumerable, dreary indie bands has achieved 10 per cent of the impact on popular culture of the Beatles, Stones, Who, Led Zep, Dylan etc, please do let me know. Thank you

I grew up in NC, where I had to learn how to forage for goodness in lieu of having it served up. But we had music here when I was 3 too. I was six when I missed Monk's week at the Frog & Nightgown. I did see the Monkees that year. My memory's pretty vague, but it's my understanding that Hendrix opened that tour. My 5 year old likes the Monkees. So you think we New Yawkas have goodness served up to us? Believe me, I did plenty of foraging. I was not feeding you some "mine's bigger than yours" nonsense. I was simply stating the facts. More music and arts in bigger cities, period. Growing up in NYC did afford me options other than taking drugs and partaking in pre-teen sex. Btw, I didn't say we had music in NY when I was 3. I said I was listening to it seriously when I was 3. There's a difference. FWIW, ALL and I do mean ALL the jazz greats that you and I worship played in NYC many years before and many years after I was born. As a matter of fact, the Monk tribute concert (think 4cd Interpretations of Monk on DIW and Koch) took place at MY alma mater!

My condolences. I've gotten my pre-teenage son into the Beatles, Led Zeppelin, the Who, Yes, King Crimson and Lambs era Genesis. Now he CAN'T think ME odd Of course, the downside is that both he and his sister tell me that "your jazz sucks"!