king ubu

How is Junior Mance "Junior" (Verve)? I might be in for the Milt Jackson/Ray Brown one from Impulse (Teddy Edwards!) Waiting for covers to appear on the BN and Riverside pages, don't feel like clicking on 100 albums.

mine's on the way

lots of favourites have been mentioned already (the Don Byas twofer above is indeed the way to go, I guess ... great music) ... but not this one, which again is the way to go, I think (alternatives being a - faulty, one track duplicated - Proper box or and Avid set and some more such, or a bunch of hard-to-find Savoy/Denon discs splitting the material): here's another thread, specifically on Savoy compilations (CDs and LPs):

Thanks, ordered a bunch (the same one by Garrick, the Morrisey and two Dankworth doubles) ... and added the Maupin one that's not on sale. Wanted that one for a while.

Prices here are pretty fair (no idea about transatlantic shipping though): http://www.prestoclassical.co.uk/a/-/3364/Hollywood-String-Quartet/medium-CD They run sales all the time, the last on Testament is just over, I guess they'd offer them 20 to 25% cheaper then.

(if it's any comfort, Grace Kelly has been dead for quite a while) r.i.p. Don Friedman - he's one of those that should have been *much* better known. Always enjoyed his playing a lot (once I got over the bad cover art his records usually came with, excepting the early ones).

disc one - Bach: Goldberg Variations

Okay, one more question: The true bluesmen (therefore excluding many of those "followers" worshipped by "most whites" - after all, Eric Clapton is surely not God) ... isn't their guitar playing so good because it's "vocal" in some or other way? I'm speaking of pitch, of bending tones and bending times, doing that rocking chair thing that makes time stand still (or at least lets you forget time, completely, when you listen) - it's so completely human, no matter how technically adroit it may be (and that's where, say, Gary Moore, totally falls flat in my book, his playing sounds like plastic to me.

I don't even try keeping up to date ... but I will catch his Blue Shroud Band again in autumn when they play in town another time. I missed a few good concerts (such as the Parker-Guy-Lytton set that's on record from NoBusiness), and I will give my best not to let this happen again, as he's always excellent?

I have had the pleasure of hearing a long evening of Barry Guy NO music a couple of years back, first a series of duos/combos, and then for the second set two pieces by the full band. Caught the NO in 2004 for the first time, and the Blue Shroud Band last fall - all three concerts belong to the very best live concerts I've witnessed! Looking forward to exploring the two Mad Dogs sets soon!

Yeah, okay, in light of that most whites (most people, I guess) don't care to even know what "blues" is supposed to be ... the phrase may be true (but then it runs close to being a truism - if you consider white rock music audience, yeah, but what's the point? Not trying to get on anyone's nerves, just trying to figure out what's so interesting about the quote).

Gave this a spin, all the way through on Saturday (in two seatings with a few hours of no music in between) - it's excellent! Have now also got the two previous sets (by New Orchestra Small Formations), finally. Cost quite a bit to get the first one, but I ended up buying it from one of the guys behind NoBusiness, so the money goes into good hands

Just got a few Amado albums last week, will be while before I get around to listening though ... but lest I forget: I bought an LP from him via Discogs a few months ago and realizing he was the seller (it was a Brö LP by Brötzmann), I asked what he'd recommend me to check out his stuff. The first two you mention were on the list he mailed me, further he included "Burning Live", "The Freedom Principle", "Live in Lisbon", and the Wire Quartet (on Clean Feed, not sure there are others). (And just so he doesn't sound too full of himself ... after all I did ask, and he did add a note that it's not easy for him to give such recommendations about his own work.)

Who are those "most whites"? Do you know any of 'em? Seems like an absurd notion to me, honestly. Meaning I'm in full agreement with the first sentence, but double-guessing the second. (But then I don't know many American "whites" other than those here, and I guess those here tend to be more knowledgeable about such things than others).

This one here belongs with the first few Blue Notes ... and is just as excellent, in my opinion:

No reason to hesitate, those are wonderful recordings! (In case you're not familiar with those Sony boxes and it matters to you: presentation is minimal, no booklet, just infos on the back of the cardboard sleeves.)

Playing my (French) LP now ... very noisy (and I was ripped of on shipping costs, hate when sellers do that), but even more enjoyable! Just flipped to side two and the title track is indeed wonderful! Thanks for the recommendation, Larry

I love it, but it took me years ... guess a similar story as with JSgnry, xept 35 or so was late enough in my case ("sooner", I thus guess )

JPC offers quite a few of TCB's Swiss Radio Days Jazz Series discs for 10€ a piece. Not a super bargain, but still ... hope the link works: https://www.jpc.de/s/swiss+radio+days

the 1952 mono "Aida" with Tebaldi, from this box:

First time I ever hear any Haydn concertos in HIP - makes a huge difference, truly ear-opening. Actually, to put it bluntly: first time, any Haydn concerto makes real sense to me!