king ubu

ubu roi for you, with perfect French accent, d'accord? (that's übü)

Yep, that's understood - and hence my question to Steve!

Uhm, how then do you pronounce Hugh? When I say Hugh it sounds the same as as in brew, I think ... okay, maybe a tiny bit of different shading, but ... or are you making fun?

Great thread - and most illuminating comments, ep1strophy! Garrison/Favors - very interesting, and makes lots of sense to me!

Jim Pugh? as in "crew", "Fru", "Brew"?

Thanks - sounds good enough!

You're welcome, but remember that the internet was the friend who first introduced you (and me). So...the internet is still my friend, and now it's the friend of Cherry Red Records www.cherryred.co.uk as well! So it's a vinyl rip? Legit? I think last time I asked about Cherry Red being legit or not, I got beat up by those who seem to know better, but the 'teefski I got (my lone Cherry Red) definitely screams "PD!" in my face, so ... but then Syreeta's album isn't fifty years old yet, so ... what do I know, I will just get it.

Mighty fine album ... I guess after all, the internet isn't my friend any longer in this case! Thanks for the heads up!

Very sad news.

Late again ... all the very best, Guy!

Contrary to above opinions, I enjoy Ogdon a lot. But I guess best is Sofronitsky (to be found on Brilliant, I've got his 9CD set, but it can be found on a larger Russian pianists set, too). Also enjoyed some of Horowitz' playing, though with him I'm never quite sure what to think ... And the Ashkenazy set mentioned at the beginning I enjoy, too.

The more you dive into serious discography like I do, the more you care for accuracy of information and the less for looks. Have you ever worked with an interrelational database like BRIAN? The advantages are so many that the looks become secondary. Precise information is what is important. Any funny layout corrupts the display of the data. Start working with BRIAN, and you will get the idea. Once you do it will save you lots of time. I('ve got to) work with similar programmes at work ... I can fully endorse your point of view, but still I find the layout of those discographies rather cumbersome, I'm afraid. But obviously they're a great source and the best around on the internets!

Yes, but they still do look ugly ... someone ought to try and create a somewhat nicer design! Thanks for checking and reporting back! I guess that third version then is the only one I've actually got, forgot about it, too!

It seems it's got something to do with the cost of licensing; the optimum seems to be a 7CD-set, I was told sets with fewer CDs cost more per CD and so do sets with more than 7 CDs. Also, licensing stuff from more than one rights owner for one set seems to be very costly. Another factor making the larger sets more attractive is the cost of the packaging and booklets. Obviously, yes! But still, what's the bottom line between 5000 Pres-sets sold within a few years and 2000 larger sets sold within twice as many years? (Storage room would be another consideration to take into account, I assume? Even if they only print a few hundred at the time, those need to be stored.)

(which is why the early Brunswick/Vocalion material by Ellington is out on a GRP three disc set, "Early Ellington", and the Mosaic - again containing the Sony-owned material - only starts in 1932)

That makes sense - but my calculation still comes in in cases where they are able to sell off half or not even half of the planned edition, I think? Anyway, I don't doubt it, I'm just trying to understand!

Also, I don't think the Pres/Basie 4CD box sold out so quickly just because it's Pres/Basie ... it's small, it's considerably cheaper than most. Not sure why 7CD sets are economically most feasible when they time out after less than 3000 sold units and ten years, while a 4CD set is sold 5000 times within half the time. But I was never good in math and have not even basic understanding of economical stuff, so ... yep, shoot me

Sure ... but if I'd trust anyone on Monk, it's Kelley! Can't help with my ears as I don't think I have those tracks at all.

Sheesh, who the hell still cares anyway? I'm with Chuck, I throw in Ludwik Fleck and Erwin Chargaff.

Great news, will be looking forward to this album! Gee, what a moronic sentence: I AM (already, now!) looking forward!

Happy Birthday, Daniel! :party:

Kelly lists two versions: http://www.monkbook.com/sessionography/sessionography-1963-1965/ November 3, 1964, The Jazz Workshop, San Francisco rel. on Always Know (Columbia JG 35720) March 2, 1965, 30th Street Studios, New York rel. on Misterioso (Columbia CL 2416) I'd tend to trust that information. Sheridan gives the very same info (not sure this links actually works): http://books.google.ch/books?id=soVtoCn8pRQC&pg=PA129&lpg=PA129&dq=monk+columbia+Col+JG35720&source=bl&ots=q292_qIpfG&sig=KhXRaBRfZQtJfy2pgp5BQnMmkaE&hl=en&sa=X&ei=526KUPbbLIaytAan-oDgCQ&ved=0CCMQ6AEwAA#v=onepage&q=honeysuckle&f=false

Not sure how much George Lewis I really need ... but thanks for the informations, guys! The Strayhorn looks most interesting, as does the Webster (the later regardless of band or whatever, I just love late Ben, the Dig Ben box is great, even though not all of the music in it is really first rate).

Just bought a ticket for Grigori Sokolov in Luxembourg, Nov. 26 - Rameau, Mozart and Beethoven ... hope I'll be indeed there that day

Wonderful set, so underestimated as a chronicle of improvisation at it's best. Oh yes, it's stunning! I remember how I bought it, was still in high school and in these days before internet and credit cards, I paid well around 100$ for it in a local store (that just closed, and their asking such money for CDs was quite certainly a part in it, though that was regular among music stores here, until a few years ago). Material from the 'Manteca', 'Afro' an 'Diz Big Band' on Norgran/Verve. Thanks! Will have to check some discographies to see if I have all of this. Does the box include the Gene Norman concert in its entirety? (The GNP releases, it seems, omit a pair of tracks!) Now playing disc one of this one: