king ubu

If you enjoy the John Handy of the Mingus Jazz Workshop, and his Roulette and Columbia recordings, you will be rather disappointed by Hard Work, which is a typical '70s era commercialization of a jazz artist. Hard Work was a semi-hit for Handy (the title track anyway). I hate that song. Carnaval goes even further along that dire path. That's what I was afraid of... the handy dandy Handy man, then...

Absolutely! (But this ends all dreams of a Brown Mosaic Select, I guess...wasn't really an option I assume, but I still kept hoping against all odds...)

Ha, that "Live at Baker's"... that one never grabbed me, really. Some good moments, but very incoherent as a whole, I found. The band on "Heaven on Earth" does look good though ('xept for Medeski, whom I don't know well... never cared for MMW - is he on organ or keys or piano or all of that?). My main point, I guess, is: I'm grown up, I can judge myself. Just bring the album with very little no-bullshit promo (make it a photo and four or five lines of text) and then let me hear myself. I'm tired of being pampered and taken for a moron by all these promoters and consultants and marketing specialists. And sorry, I didn't want to come across harshly towards you, Mr. Rep!

Well honestly I could do with 10% of that amount of text. Or with an interesting interview with Carter or whatever. I just don't read the promo crap. I wait until I can have a listen to the disc in a store, and I don't mind if that's a few weeks or months after the official date of release (I've never really cared about dates of release... the only thing I ever pre-ordered was the big Ayler box, since naively I assumed such a great box had to be sold out fast...) Also note that I said "the latest I've heard" - I'm not that big on Carter that I follow his every release.

Some of these look pretty interesting, while others are completely pointless (Mingus and Hubbard, mostly). Can anyone say anything about the Handy? Is it horrible, is it good? Can be anything with him... Also, how about the Nelson/Jones+Nelson/Allen and the Blue Mitchell? All rather on the easy side, I assume? And the White? (Not asking for line-ups, can check that myself, rather asking about quick impressions on the music!)

Have finally ordered that one from the recent sale (with the Hamp, Bird and the new Tolliver Select!) - looking forward a lot. The only album included that I know happens to be "Comin' Your Way", of which I got the LP some ten years ago. Very nice! Too bad though it's separated from the two albums by the same band that were done under Horace Parlan's leadership (and included in his Mosaic).

I wonder, does anyone ever read these promo blurbs? Me, I *never* do. I know Chuck mentioned this in another thread, don't want to discuss this in each and every one, and don't intend this as an attack on you, GA! However, I'd be much, much more interested in a few personal impressions AFTER listening (even if it's just a couple of sentences!). I tend to click away all that promo crap immediately. No idea how others feel, but in my case, these promo blurbs rather stop me from finding out if I might like a disc, rather than buying it. But the latest of Carter's that I've heard - "Present Tense" - was pretty good. (Oh, and couldn't the poor sidemen be allowed to dress properly, too? )

I have, but don't remember, it's been a while...

That's indeed funny! All albums are pictured there in large, too: http://www.amazon.com/gp/product/images/B005JT1FJM/ref=dp_image_0?ie=UTF8&n=5174&s=music Btw, I'd feel the material is different in vibe to the Columbia sessions. Not sure how to put it... a bit less modern sounding; instrumentation is part of that, lots of guitar on the Columbia, and Braff, Webster, Hawkins, Terry, Burrell are all guys that were smoothly fitting in with nearly any imaginable setting - wouldn't say that of Dicky Wells or Buster Bailey or Rex Stewart. No disrespect intended... it's more like somehow what I've heard of the Felsted material was still more closely linked with tradition, while the Columbia material has this "mainstream" vibe to it (sort of enlightened approach to tradition, slightly detached, looking at it and then digging back into it... there's a mise en abîme somewhere in there).

My point is merely: I don't want to read any statements any more that addiction is addiction is addiction. It's simply not true. It's just not the same to be addicted to brandy, heroin, jazz or child pornography. No matter if you produce your own or not, those that come out of it alive will be marked for live, and no one has any right to do that. No one. This is not saying Bill is guilty. It's the comparisons in this thread that bother me.

Intakt is planning a 2012 release of the 1980 Willisau concert by the "Musical Monsters": Don Cherry, John Tchicai, Irene Schweizer, Leon Francioli, Pierre Favre. Of course it's been "in circulation", but this is great news! Got it from the Swiss jazz magazine "Jazz'n'More" which runs a portrait on Tchicai in the current issue (5/2011, Sept./Okt.) and announces this at the botton of the page. They already mention the catalogue number (Intakt CD 206) so I'm really hoping this will come true!

from wiki:

r.i.p. I just played his "Life's Dance" (Wewerka) again a few days ago. It's a nice disc but it's very much on the easy side of things. Emil Mangelsdorff (alto and flute) and Sidney Smith (tenor and flute) don't get much space, and as Mike said, Fritz Hartschuh isn't the greatest vibist ever... but still, the disc contains some very pleasant music. Some of you might know him from the opening track of the fabulous Forum West disc (taken from "Life's Dance"). Here's the German wiki page on Lauth: http://de.wikipedia.org/wiki/Wolfgang_Lauth And a pair of obits (in German, too): http://www.morgenweb.de/service/archiv/artikel/740102768.html http://www.jazzthing.de/news/2011-9-1-gestorben-wolfgang-lauth/

Yep. The Select includes these Columbia albums: • Recorded Live at the Monterey Jazz Festival • The Second John Handy Album • Projections The common factor seems to be the inclusion of a violin 't was a weird Select from the git-go... the Roulette albums plus some bonus material would have been much more interesting to me... anyway, I'll eventually get it.

In the Vernacular No Coast Jazz Jazz The third was recorded in NYC in 1962 and featured Handy with Walter Bishop, Julian Euell and Edgar Bateman. Is "New View" missing from the Mosaic Select, btw?

Uhm, how about lots of beauty with a tiny bit of cheese (keys)? Seriously: Pass has to have one of the most pure guitar sounds ever!

I absolutely agree. Would be good if these unruly comparisons here would end - now!

Guess you're right there... just had the Columbia Small Group Swing Mosaic in my hands today - got it when it was running low - seems they only sold about half of the planned edition of 5000 before it timed out. Too bad!

Yeah, I'd be all over that Vanguard material, too! Missed it when it was still around on CD.

Hans Dulfer - The Formative Years '68-'98 some great stuff there... though not so sure how much sense the word "formative" makes, considering this is a broad overview of Dulfer's career.

I'm definitely interested - for lack of better alternatives, that is... would have much preferred a Mosaic with proper sound restoration, though (even if based on needle-drops).

Time to dig out some Art Ellefson again Happy Birthday, sidewinder! :party:

Yes indeed - most interesting, Chris, thanks a lot!

Yeah, the CD sounds fine. Not too big a fan of the layout, but as I said: the notes are a good read! (Would they be included in the LP set?)

Those were my feelings when I read it.