Patrick

I have a number of Mehldau discs, and enjoy the "Art of the Trio"ones the most. Perhaps they are safe in some sense. I haven't heard Largo at all, am still getting into Elegiac Cycle, and haven't been grabbed by Places. Suppose (for a moment) that Keith Jarrett decided only to record the Standards Trio material [eg Whisper Not, Up For It, Tokyo '96 etc.]. Would there be similar complaints about Keith not stretching out enough? (I enjoy many of the Jarrett standard trio recordings--still growing into non-standard Keith)

My first Mosaic purchase was the Blakey 1960 set in 1990 or 1991. I had just passed all of my qualifying exams after my first year of grad school. Passing them all on the first try was an accomplishment worthy of such a reward. Despite living by modest means at the time, one must properly celebrate special personal achievements!

Hallelujah! I will eagerly replace my cassette dub of a store-bought cassette circa 1985. An excellent collection of material from their early days (Talking Heads: 77, etc.), including "Building on Fire" and "A Clean Break" which I believe don't appear elsewhere on official LPs (if we can still call them that), and material from the Remain in Light era which I think holds its own against SMS. As I understand it, issuing delays were caused at least in part by disagreements between Byrne and the rest of the band. The website mentioned above used to have threads discussing this [They may still be there, I will confess to not visiting this excellent site in years.] One of their FAQs even addresses the unavailability of this great album. The expanded SMS does improve it as a "concert document", but not to the level of The Name of this Band Is... . I'm looking forward to this one. ...you pulled me up, you pulled me up, you pulled me up, up, UP, UP

I have about 70 of these. Several of the recommendations above are absolutely essential (especially the Miles, Monk, Trane titles). Truly essential in my book (a quick, short, list): Cannonball Adderley Quintet in SF; Coltrane - Coltrane, Soultrane; Davis- Workin', Relaxin', Steamin', Cookin', Walkin'; Dolphy at the Five Spot; Evans- Sunday at VV, Waltz for Debby; Monk- Plays Ellington, Brilliant Corners, Misterioso; Pepper- Meets Rhythm Section, + Eleven; Rollins- Saxophone Colossus, Way Out West Other great, though less heralded, titles: Burrell- Ellington is Forever; Haynes- We Three; Lacy- Reflections; Lateef- Eastern Sounds; McIntyre- Looking Ahead; Reece- Asia Minor; Russell- Ezz-thetics; Waldron- The Quest

Well if it's a silly poll, gotta put a vote in for that Ian Hunter classic (or Presidents of the United States of America remake), "Cleveland Rocks". Okay so there isn't much to the vocals. Yeah, there isn't much else either, but it gets many a head boppin' and body rockin'. Of course, if one is seeking inspired lyrics that include the names of northeast Ohio towns--and I'm sure there are many of you--then tread no farther than the final verse of that Tom Lehrer classic "In Old Mexico". Come on now, everybody together... "Now it's fiesta time,... in Akron, Ohio. But it's back to old Guadalajara I'm longing to go...."

61. More than I expected. 38 were first acquisitions, 23 were upgrades. I give away the old versions to folks that are curious about jazz but have few, if any, titles. I also refrain from purchasing any RVGs, especially upgrades, for more than $9 delivered (this has gotten a bit tougher given the Tower demise). Great series, but as others have noted elsewhere, it causes me to hesitate picking up non-RVG items in the back catalog (Horace Silver and the Jazz Messengers, anyone?).

61. More than I expected. 38 were first acquisitions, 23 were upgrades. I give away the old versions to folks that are curious about jazz but have few, if any, titles. Great series, but as others have noted elsewhere, it causes me to hesitate picking up non-RVG items in the back catalog (Horace Silver and the Jazz Messengers, anyone?).

Bob Belden / Black Dahlia (Blue Note) large ensemble, but very noirish

Okay, I'll play. Perhaps more enthusiastic than idiotic, the first thing I thought of was Ira Gitler's notes for Booker Ervin's The Blues Book which include the following warning: "The loudness or hardness of a musician's delivery doesn't necessarily stand for true depth or sincerity, but if it does, look out, for you are in for a steamcleaning from the convolutions of your cranium down to your entrails." So the next time your entrails need a little sprucing up, just remember this additional health benefit...

In the late 80's, Frank Morgan was a point of entry (or re-entry) for me into hardbop. Compact discs were growing more available, and cheaper, and his "Mood Indigo" (Antilles) album got rave reviews (...at least in some quarters). I had cassettes of KoB and MJQ, and had been scared off by Coltrane's Om. Save for an opening/closing theme composed by George Cables, "Mood Indigo" is all standards (Wynton Marsalis sits in on a pair of tracks). While perhaps not essential listening in the greater jazz fermament, MI is a fine album for a newbie to (re)familiarize with some of the standard tunes. While I don't listen to it as often as I once did, it is a familiar and comfortable listen (an old pair of slippers, I suppose). I have a few of his other titles, and my favorites are MI and the aforementioned "Listen to the Dawn" which is a great late night listening experience. I too saw Frank play at the Jazz Showcase in Chicago. A show I will not soon forget, not so much for the quality of playing, but for the timing. I saw him on September 14, 2001--just a few days after 9/11. After sitting in front of the television for a few days I had to get out, and figured Frank might provide some healing music. Alas, there were about 8 people in the audience, but to their credit, the show did go on. Frank played with Willie Pickens, piano, Marlene Rosenberg bass, and a drummer I don't recall. The mood was extremely subdued, but smiles appeared on some faces (at least mine) when they launched into some Monk striding. Between sets, I spoke briefly with Frank. He had left NY on 9/10, and, much like me, had been glued to a Chicago television set for the following few days. I asked him what it was like playing with McCoy Tyner. He smiled and recalled that Trane had suggested McCoy listen to Frank way back when. After our brief conversation about current events and jazz subsided, he started the second set with "Search for Peace". Healing music indeed.

For many of the great Blue Note artists of this period, I find my first purchase is often my favorite, even after many years of additional acquisitions. This may be due to (perhaps obvious) recommendations made by others, but I know that I acquired some based only on the sidemen or the cover design. Nothing like the first time, I guess. For Burrell, it's Midnight Blue. For Shorter, it's Adam's Apple. [i know, that's another poll.] For Hubbard, it's Hub-Tones. Fabulous albums. For Herbie, it was his debut "Takin' Off." Great Dexter, great grooves, a fine album to play at social gatherings (especially for a crowd that is not too into jazz). In some sense, it may be more a "favorite" than "most interesting." Perhaps not as elegant as other HH dates, but it is hard not to smile when these tunes get cranked up.