CJ Shearn

Right! He is truly inspired here which makes this set a joy to listen to

Figured many of us have this, but here is my review courtesy of Resonance sending me a package including this title. http://bit.ly/2fMMsVV

I've noticed that a lot where people are reviewing like Robert Glasper for example, they lack the historical perspective that essentially the Experiment's music is coming out of the Headhuunters just filtered through a different lens. Now that could be just a lack of the person's knowledge/lack of wanting to know/research, but it generally shows a smaller scope, and that's fine, just not interesting for what I'm doing

Thanks Jim, yeah, the effusiveness is something I try to avoid. John Kelman at AAJ who has been a mentor to me in writing for about a decade, has stressed to me the importance of leaving yourself out of the review, its about the music, not the reviewer. That's been my thing. For me its important the reviewer has really listened to the music, not given it a cursory listen (a la AMG) I want to know what's going on in the music, so I express that the best way I am able through my limited theory knowledge/asking musician friends questions. Thanks for the kind words. And Scott, I think you'll enjoy this, the music simply resonated with me.

Thanks Lon! It is, B.............. It adds a lot to his solo legacy, IMO, and I need to hear all of it

For those interested, YMMV of course: http://bit.ly/2gnamvp

Really sad. I have "Lenny White Live" on now, love his deep pocket on that album. Also has some terrific Patrice Rushen, and trumpet from Mark Ledford, who was also so wonderful.

Exactly, if "Ecaroh" would have been in rotation then, would have been interesting for sure, but seems unlikely.

I have to check my version, its the same uncorrected version,with the timings a digital promo.

xybert, where did you get "Five Trios"?you are lucky because that's still a relatively recent still rare Chick album?

http://bit.ly/2f5xiuh

I'll be reviewing this. As others have said, to find out how they got there for the master takes is intriguing. The aborted cowbell use on early takes of "Freedom Jazz Dance" is really interesting, and its evident how much thought went into this group, really nailing the concepts.

Yeah shame it stopped at 25, listening to "Night Flight to Dakar" on disc 1 of the 2fer with "Xanadu in Africa", like it a lot. Frank Butler's solo on "Sweet Senegalese Brown" is great. The Xanadu at Montreux titles look good too, but I wonder if those tapes suffered irreversible damage? Zev told me the 4 live albums that were reissued in the series were made from restored damage masters.

The cover on my copy of the RVG is normal, no "retouched cover to come"

http://bit.ly/2eCF545 Enjoy for all those that listen, if not that's ok too

I ordered the Dex/Cohn, Night Flight to Dakar/Xanadu in Africa 2 fer and the three Tokyo ones. There will only be 25 titles in the series, Zev Feldman told me

Thanks for the words, the brouhaha here really caught me by surprise because all I do is provide the musician to talk about projects/career, if no one listens it's cool. I may do traditional text interviews more often, just have to get a good transcription program and edit accordingly. Editing with one hand is not easy, at all, its a laborious process.

More of it is coming to my blog, still editing.............. wasn't the easiest to edit. Gotta extract the best bits.

Think I'll be getting a few of these reissues, the In Tokyo series looks solid (took a listen on YT to a track each from the Harris and McPherson and they were smoking). The Joe Farrell looks great, and have some interest in the Ronnie Cuber, Sam Jones, Frank Butler titles.Though I can imagine probably a few of the releases probably go a long way as its another keeper of the flame type label a la Concord, Pablo, and as people said this stuff has been done better elsewhere but as long as it's cooking. I appreciate what Zev Feldman does and the packages look appealing. Definitely will get the Teddy Edwards

Background I mean! Oops

Well, doing a test on an the RVG of "A New Perspective" which was in the first few sets of batches on my Audio Technica M40 headphones, as well as my decidedly non audiophile Technics speakers, it seems that putting my Onkyo amp to mono from direct (the latter keeps the stereo image intact with little processing) the horns become more present in the soundstage, while the piano, bass and drums recede into the foreground. Of course no matter what button I hit on the amp, does little to change the power of Herbie Hancock's omnipresent riffing on "Elijah" "Somethin Else", another early RVG, it really highlights Miles and Cannon to great effect, and Blakey too. Sam Jones comes out more, then on a mono album to begin with like "Cool Blues", it retains the exciting in your face sound of being near the bandstand. Bobby Hutcherson's "Happenings" seems to be a pretty narrow soundstage album anyway, in both the RVG (which sounds good to me anyway) and the HDTracks vs which I listened to samples of. For RVG's with hotter treble like the "At the Half Note Cafe" it sounds better in headphones because somehow with the mono turned on, b/c those headphones are flat response, it balances it out......... but for that title, I like the depth it brings in stereo.

Interesting, I have a mono setting on my receiver, might try that

Agreed on that, TTK. I still have many RVG's, I only upgraded to the SHM CD's or hi res titles that really needed it IMO (Shorter "Speak No Evil", "Soothsayer", Blakey "Mosaic", Dolphy "Out to Lunch", Hancock "Empyrean Isles) but one thing I can say, the RVG series enabled me to get a lot of titles I missed the first time around in their initial CD versions. Whatever sounds good to each person is the factor in upgrading or not.

Here is the segment of our interview with Joel discussing Tommy Turrentine. I decided after editing, and due to tumblr's file size restrictions to divide parts of our interview into chunks, coming weekly. At some point I'll get into software that transcribes audio, as people who cannot access podcasts will want to read the written interview. This podcast was for my blog and not New York Jazz Workshop's blog. http://bit.ly/2e0Cxiq

I really appreciate Joel's time with me as he spoke about names largely neglected by the history books. Barry Harris, Tommy Turrentine and C Sharpe were very important to Joel, and its important these names are discussed for extending the jazz history narrative. I wanted to give him the chance to speak freely (nothing is censored in my interviews) and he did so quite well.