Man with the Golden Arm

while in keeping with your blue-period you could go max zillion!

Well, er, ah unfortunately I bought that one in Japan last year prior to any knowledge of this being an SACD. Here is a page of some great insight's regarding the process of this new one. It even sets the dates straight for the pick-knitters. Order up, I guess. SC Trio

Did some searching around on the Time Sonny Clark disc. Another thread claims what lies in this one, I think, but there were a lot of disparate conversations going on. So does this SACD version's CD layer of the Trio (the one that was recorded in January of 1959 and 'published' in 1960) completely blow away the recently 2001 re-issued 'Hi-Bit-Hyper' mastered disc from Japan? I've been gathering a selection of hybrid onlys as I have yet to upgrade the hardware, but have recently reconfigured my studio set-up into something that sounds very fresh. Thanks.

Curious if anyone can comment the just released JRVG of Hill and Hutcherson's "Judgement!"? Thanks.

I just opened a link to Giddins VV column on the JVC jazz fest and across that was a banner for this beautyisararethingbox! Essential and sounds pretty darn good to me. and I guess I'd better include the blib on Ornette's new quartet: "...Art Blakey famously said that music washes away the dust of everyday life, and so it was when Ornette Coleman took the stage with his new quartet. He went at it for close to 90 minutes, stopping, after a one-minute encore in response to a five-minute ovation, at the stroke of 11. That kind of precision characterized the entire set, not just the variational logic and magically timed endings, but the hairpin turns as the quartet sustained the leader's expansive, combustible playfulness. With Denardo Coleman's drums behind Plexiglas, the sound balance (better overall this summer than at any JVC festival in memory) gave each man his due, preventing the basses from getting muddied. Sometimes Greg Cohen asserted a thumping pizzicato bedrock as Tony Falanga employed his bow for melodic incursions; sometimes they plucked together, usually with Falanga suggesting the lead; and at one point Cohen laid out while Coleman and Falanga exchanged phrases. At all times the group seemed to breathe together, rising and falling like a pair of lungs, locked together with an emphatic rhythmic integrity that, in the Coleman manner, is less propulsive than fixed in the present—a perpetual-motion machine that swings in place, spotlighting the momentum of Coleman's improvised melodies. Nothing in jazz is more moving than the purity of Coleman's sound and conception. Essentially, it has remained the same since 1959, when Shelly Manne marveled at how he could make the alto saxophone laugh and cry—never in a mimetic way, but through the natural effusiveness of his inventions. His tunes reach into an unguarded place where we store the most elemental tunes of childhood, and embody their universality, encompassing every kind of emotion. His solos chortle, sigh, exult, and dream, and when he's finished you get sent back to the dust of everyday life. Small wonder the audience wouldn't let him leave. Every Coleman concert is an event, but on this night he was preaching from the mountain and the clean air was exhilarating." Giddins village voice

I forgot to mention that those CDs are actually painted!

Ah but you must wear these to go CD shopping!....

i've sworn off that stuff. i always find a hair in it.

Seeing as I used to scrawl #15 on my sweatshirts every fall I had to cast for Bart. Probably my fave since I was just old enough to watch those first couple of Super Bowls with Dad and actually pay a little bit of attention. I did like Roman Gabriel after becoming a Ram fan for a while. Jack Snow and Lance Rentzel-famous for the "down and out"! Now how 'bout we talk greatest running back of all time. The #32 rings a bell.

I've got about five of those babies you all just posted in pristine condition with the varnish unpeeled. Guess I oughta eBay'em darn quick?

See Dusty Groove for MWTGA

Ed, I've been playing the heck out of this disc as well and was completely blown away by it during the first listen. You should next check the "Nu Bop" disc. It's definitely the predecessor and lies somewhere in the middle of the 'progressive pack', as impossible makes note, that began with sal's rec on "C&P". Flam is certainly more of an out and out player here. The newest one with the AntiPop Consortium is one for the SACD techno if for only being able to de-kareoke-ize the rapping(?) from some stunning playing. Do look into DJ Spooky's "Optometry"-if only for 'Reactive Switching Strategies' and 'Ibid, Désmarches, Ibid'. My only downside opinion regarding the more acoustic BS releases, and especially "Pastoral Composure", is that after time it sounds like some very smart Windham Hill (not really a bad thing but it hasn't endured on my ears). Although the choicest 'Visions' is truly a capital K killer romp. All tasty stuff for some summer heat and you can turn it up real loud when passing by the tweenies at the skate-park.

I had that exact same conversation about fifteen or so years ago. Not quite as tempered language-wise.

Plastics!? Figured they'd hafta go with "goo goo ca choob..."

Thanks for that thread uber-tuber. Great to read some Greg again. He sounds like a pompous prairie dog amidst a herd o' bison. Ring up Mr. Tanno and get the right version of this ya'll.

Hows about Miho Hatori-

er, more cute and kobe. that piece in her right hand is well marbled.

Lemme guess....hmmmm.... Betty Page as done by Olivia the "queen of cheesecake". I prefer Jim Silkes take on her above all. But I sure wish that Egon Scheile had had a crack at her. My avatar at this moment is by Junko Mizuno...Japanese pixie of the kawaii and meaty!!!

what timing....i just received the JRVG of "blue train" and compared it last evening to my regular, somewhat noisey tape wise, TOCJ pressing. help me out here y'all. this thing sounds like ready mix tinnitus. open, pour, listen if you can, take three aspirin and play the TOCJ in the morning. ouch!!!! yes the spread and all that is fine but i find that kind of thing a bit more easy to rectify within one's sytsem than having to kill all the treble to make this van gelderized version even tolerable. and who needs to hear lee morgan with warmth anyway? sure, drew is a bit more propped up and chambers does sound sweeter but any of his masters with philly joe have that shrill-ness that i'm sure was not intended back in '57. van gelder has turned this thing from the nice old "blue" of what i imagine that deep groove sounds like into the aural equivalent of those obnoxious icey lights on that BMW following me home. seriously!! how can you guys say you like this???? BTW, i bought it for the cover anyway! please help me out. is this a polarity flipper?

EVERYONE SHOULD SIT AND CHECK THIS RIGHT OUT. MAN O MAN MNYTIME!!!!! Beautiful Stuff! Get this wacko over to the Mosaic Studios right now. do you know anything more about this artist?

yeah, but you'll be able to scrape up enough sinse`from inside that gatefold (listed as "dust"?) to make it seem like it's worth the big K!

Obviously done by the same crew that put together the corporate identity package for the Select Sets. Kind of has that "as seen on tv/ time life" look. Reid Miles and Francis Wolff are breakdancing.

I was doing a little browsing trying to find an honest review of Tubby Hayes' "Mexican Green" (still looking), when I happened to see that Tubby and Band play in some jazz club in this '65 cult movie staring Christopher Lee, Peter Cushing, Donald Sutherland and Jim Dawson. "Voodoo: While on tour in the West Indies, jazz musician Biff Bailey eavesdrops on a voodoo ceremony and is inspired to create a piece incorporating the rhythms of the dance, ignoring warnings of dire consequences." (And I've recently seen a Dizzy Reece LP called "Possession and Exorcism" where Tubular Bells is covered?") Any recs?

Lon... dat's classic. I couldn't view any images for some reason and posted the "bandaged ear" painting myself. Presently enabled, I have since deleted mine but a hail to your warped sense of humor.

AMG seems to lead many to think that Roques was "responsible" for a great many Reid Miles covers. I believe he is more the designer from the eighties era onward (thus, those catesta posted don't fit and no way did he do 'Blue Lights'). A whole lot of credit goes to his re-issues. [Ooh maybe he's the one that can't proof read.] Would anyone have a listing that would show when the Roques' began? Or for that matter anyone know which BN was Miles' first and last?? I did find but have yet to peruse his site. patrickroques.com