imeanyou

Mal Waldron, Sweet Love, Bitter (soundtrack) original stereo US vinyl. Half-forgotten it seems, but gorgeous.

True, not even in Tokyo. The vinyl is pristine, I think I'll be spinning this for the rest of the week. I have the Sony Master Sound cd set too so I'll be able to check if they tweaked the sound or not. Just out of interest I checked my copy of Dark Magus it's ; 28AP 2165 6 , can't work out if this is a reissue etc. Discogs no help. Anyone know? Looks like a first. The Miles Ahead web site give the same numbers: http://www.plosin.com/MilesAhead/Disco.aspx?id=Dark-CBS The Miles Ahead website only lists the recording date and not the issue dates. 40 AP 741/2 was issued in 1977 in Japan, 3 years after the performance at Carnegie Hall. The 28AP series date from around 1980. 28 = price in Yen divided by 100 i.e. ¥2800 A = media format code (analogue) P = genre and country of origin (foreign pop) Doing the math I think your release is more likely from around 1980. Another Miles release from 1984 with a similar coding later in the sequence: Decoy 28AP 2890. Herbie Hancock's 'Monster' has a cat # 28AP 1854 (that's a 1980 release). From my experience Japanese (jazz) vinyl releases tend to be priced more cheaply with each subsequent re-issue; the first pressing sold for ¥4000 (40AP .....), the first reissue sold at ¥3600 (36AP .....) Gatefolds are sometimes re-issued at a cheaper price in a single sleeve with a re-designed obi. I'd guess your copy had an obi that ran horizontally along the top edge. My copy of Kind Of Blue (28AP 2833) came with a top edge obi. The top edge obi's are slimmer and more often discarded as they only rest over the top edge rather than slide across the album cover vertically. Hope this helps.

Ra runs rings round the rest... That's a good enough reason to bring out Sounds of Joy.

True, not even in Tokyo. The vinyl is pristine, I think I'll be spinning this for the rest of the week. I have the Sony Master Sound cd set too so I'll be able to check if they tweaked the sound or not.

I picked this up today in a Tokyo suburb- a near mint first pressing with the obi, insert and even a Sony consumer questionnaire. The vinyl looks unplayed, I guess someone got cold feet.. .

Why would you be so sure? Rouse wears a different suite I'd say (which obviously if it's different nights needn't mean much). Caravan is correct. They were broadcast on BBC 2 back in 1994 ( or 95 I think) on a Friday night. The Beeb wheeled out Neneh Cherry to introduce the progamme and name-checked her stepdad Don and quoted Coltrane's remark about the elevator shaft after getting 'lost' playing with Monk.,( Mick Hucknall introduced a later program). I taped all the broadcasts as I recall. It was Ben Riley on drums and Larry Gales on bass. I think 'Hackensack' was the first tune, and I have a feeling 'Off Minor' was played as well. I seem to recall Rouse being a bit unsure about when to solo on one of the tunes. I'm pretty certain the music has been put out on CD.

My listening is based on what I encounter. This is where I am today. Surely you 'encountered' reports of these recordings, they aren't exactly obscure. I have not, so I though it would be appropriate to inquire about them on a jazz-focused message board of which I am a member. I have a room full of LPs and CDs, and I can't know everything. Thanks for understanding. Carry on encountering...

My listening is based on what I encounter. This is where I am today. Surely you 'encountered' reports of these recordings, they aren't exactly obscure.

I'm surprised you have 90 % of Monk's commercially released stuff and have never heard these. For me they are a deal better than his later Colombia efforts. As another poster said, Monk seems energised. Look at the choice of material, he hadn't played Trinkle Tinkle in years and yet he comes back to it with great zest. These were some of the first Monk recordings I got hold of when my Monk obsession started. Sound quality is generally excellent if you get the Black Lion cd's. I spotted a Mosaic box set in Disk Union here not long ago and was tempted. Monk puts a fair amount of stride inflection into these sides and it kind of brings him full circle, back to his Harlem roots plus a lifetime 'being just Monk'. Solid gold in my book.

Does Ken Burns write books? I'm sure he knows a few people with 'jazz' bona fides who could help him out. Know what I'm sayin'?

Swap out Fats for Miles and that's pretty close to my top ten.

Yes. This was an excellent trolling venture - and they did it without adding Kenny G! By the way, I think you could make a case that Wynton, the Metternich of jazz, really does belong on this list. Nobody said the influence had to be positive. Don't think that Wynton has been influential on the music per se (name a significant player whose music owes a debt to Wynton's) but on how the music has been perceived and marketed. Don't you think a lot of jazz recorded/played in the 1980s "went in a certain direction" because of his prominence/influence? Maybe that's the same thing as what you're saying. Yes, but I don't think it was for musical reasons but for political/rhetorical ones. That is, I don't think that any/many actual musicians listened to Wynton's music and said, "How lovely/interesting that is -- it inspires me to create some music of my own in that vein." Rather, it was more like "That's the correct way, or the way that we're being told is correct and seems to be regarded as correct, so here we go." I don't understand Miles in this list of the pantheon of most influential. Miles is sui generis as you put it for Duke. What trumpeters after Miles sound like Miles? Maybe I'm missing someone but they all seem to come from Dizzy/Clifford or Freddie Hubbard. I think Bud and Clifford have to be on the list of most influential. Off the top of my head: Enrico Rava, Paulo Fresu (there seems to be a whole 'school of Miles' among Italian trumpeters), Erik Truffaz, Roney, Eric Vloiemans, Donald Byrd had a Miles phase, Johnny Coles (Gil Evans used him as a stand-in for Miles). Some of it I'd class as 'imitation', some of it stands on it's own merit. Miles is in there unquestionably. Also, Eddie Henderson, John McNeil and I'm sure if I went downstairs and leafed through all of my CDs, I could come up with a long, long list. Henderson unquestionably. Maybe Kenny Wheeler in his earlier days.

I don't understand Miles in this list of the pantheon of most influential. Miles is sui generis as you put it for Duke. What trumpeters after Miles sound like Miles? Maybe I'm missing someone but they all seem to come from Dizzy/Clifford or Freddie Hubbard. I think Bud and Clifford have to be on the list of most influential. Off the top of my head: Enrico Rava, Paulo Fresu (there seems to be a whole 'school of Miles' among Italian trumpeters), Erik Truffaz, Roney, Eric Vloiemans, Donald Byrd had a Miles phase, Johnny Coles (Gil Evans used him as a stand-in for Miles). Some of it I'd class as 'imitation', some of it stands on it's own merit. Miles is in there unquestionably.

Elvis wiggling his hips to Epistrophy....

I'm fond of the romanticism he displays on 'Pianism', I was initially attracted by his allegiance to Bill Evans in his sound, which sticks out a mile on 'Prayer'. I have the disc with Shorter as well although it's a long time since I listened to it, (Jim Hall, I find, gets in the way). I didn't really go much further than these two recordings. I'd forgotten about the Lovano disc. I guess I mentally filed him away as too much of an Evans acolyte, which is probably a disservice. Oddly enough I came across his burial place next to Chopin while wandering around Père Lachaise cemetery in Paris a few years back, that made me smile.

That's often been the problem with US and European releases, shoddy packaging and printing. 'Connoisseur' vinyls have relied on throwing a 'heavy' piece of vinyl in a flimsy outer with poorly reproduced artwork and a total lack of documentation other than the original BN write-up printed on the back. (The CD versions were a better deal.) Nothing really speaks to 'connoisseurship' as far as I can see. I'm very fortunate to live in Tokyo where I can pick up King and Toshiba versions affordably. I know that's not a realistic proposition for the newcomer to vinyl (the presumed target market) but I just wish Blue Note and/or Was could look beyond the fast buck.

Public domain quality control???? They forgot 'Back At The Hackensack'..

Picked up a first stereo pressing with NY labels and Van Gelder stamp. The only copy I've ever come across in 15 years of Tokyo crate digging! Cover is in great condition and the vinyl unscratched though dusty. Music ain't bad either !

Not paying enough attention, as usual, Dexter's 90th anniversary passed me by. I'll rectify that tonight by playing my signed copy of 'Our Man In Paris'. The first Dexter I ever heard, and a cherished memory. Gotta love LTD.

The site is stupid - so what? With age comes wisdom...usually.

Feargal Sharkey looks like Chet Baker. Most of them look dreadful. George Michael and Sting haven't done too bad. Kate Bush has been at the biscuits! Robert Smith looks like the same prat I always thought he was... Generally speaking the punk/goth types have aged as well as their music. Phil 'Cleanhead' Oakey, like it!

I started with iPods a year after their inception. They were fun. I have a full iPod classic 160GB (about 28,000 tracks at mostly 128 kb). Often listen to it via my audio in shuffle or playlist mode. Fun. I have another 2nd generation iPod in pristine condition containing jazz only for when I want to focus on just one label or one artist and can't be bothered to shuffle handfuls of CD's. That's fun too. Right now I'm listening to Andrew Hill's 'Black Fire' on a Japanese King vinyl pressing. Immense fun. I'm cool with all of these formats. So the BBC has learned that iPhones are out-selling iPods by a factor of 50 (my random number plucked out of thin air). Which means iPods have had their day. Yeah, well. OK.

Oh no! Never had a chance to see him but when I discovered his music I knew, like with Monk, I was 'home'. So much music, so much of it wonderful. A true originator, thanks for the music Mr. Lateef.

I come across copies of this in Disk Union's main jazz store from time to time, it's always been the most expensive Wilen CD over here so I've always held off whilst picking up all the Alfa and Ida label releases plus the stuff he did for Venus. I think I know where my Christmas cash is going.