Late

I just checked out that label on Discogs. Looks interesting. I didn't see a Braxton title on that label, but when I looked through Braxton's listing on Discogs (not that it's necessarily comprehensive) I also didn't see any listing for a 3 inch compact disc. I used to own a 3 inch disc on this label, purchased in 2005 at the Berkeley Amoeba Records. It was a baritone saxophonist (solo) who recorded in (I hope I'm remembering this correctly) a submarine. For whatever reasons I let the disc go, even though the music was good. I can't even remember the horn player's name. Yes, that and the different cover art. My roommate in college used to have a 3-inch disc of Art Blakey & The Jazz Messengers, I believe the unit with Bobby Watson.

Not a practical medium, but they were kind of cool. I don't own any, but remember them from the late 80's. There was a short-lived improvised music label (I wish I could remember its name) in the 2000's that released a series of 3-inch compact discs of solo performances. One of them was by Anthony Braxton. Anyone here have any 3-inch CDs? Do you play them? I guess they were a thing for a while (maybe still are) with Beatles collectors.

Dancing Graphics And then there's some record by a person named David W. Brubeck. And this one, somewhat reminiscent of Reid Miles:

If Bob Zieff made a bossa nova record in 1959, it might sound something like this: The whole album's only 23 minutes. You kind of have to listen to the whole thing to get the 20th century classical vibe. The harmonies are blowing me away.

I always liked this one. (Good album too.)

Blue Bogey Africa Calling (jumbled with the above album) This is what I most like about Gaynair's playing. Deliberate and specific ... without sacrificing swing.

Just read this interview while listening to The Will Come, Is Now. Thanks for posting it back in September. Boykins has always been one of my favorite bassists, ever since I first heard him with Sun Ra. When I list my favorites, however, for some reason I always forget to include him. Bad! Boykins' work on Steve Lacy's Capers helps to make that Lacy record my very favorite of his. The trio of Lacy, Boykins, and Denis Charles—man, I wish they'd been able to record in the studio as well. As far as Boykins' ESP date—it sounds like it could have been recorded in 1965, as opposed to 1975. I didn't know that Marzette Watts recorded it.

Some of my favorite Roland Kirk solos aren't on his own records. His work on Mingus's Oh Yeah! made that album one of my very favorites by Mingus. Likewise, Kirk's solos on Roy Haynes' Out of The Afternoon make that record essential. For consistency of solo work from his own records, I'd say that Domino, with all the bonus material, is a strong contender. My favorite Roland Kirk album has always been Slightly Latin. Kirk adds baritone saxophone to his arsenal + the voices on that album really work for me. Special mention—not because of his solos, but because of how much fun they are—for the single tracks "Hip Chops" and Kirk's cover of "Berkshire Blues." The parallel between Kirk and Jaki Byard, mentioned much earlier in this thread, is very apt. Kindred spirits in that they could easily gap generational music bridges without straining.

I'll look into that Walker set—thanks for the heads-up. I need to get out the Imperial recordings and re-investigate those too. This has me thinking about when there was an OBC (the partner to the OJC series) program. That's where I first experienced Lightnin' Hopkins. I still don't really know Spann. When I reach for blues recordings, I usually default to something on Yazoo, e.g. earlier recordings. Oh—and that Brown track above. Very fine.

• Charles Brown • Amos Milburn • T-Bone Walker • Otis Spann/Lightnin' Hopkins I have none of these Mosaics. Have the two aforementioned single disc comps (Brown & Milburn) and the 2-disc Imperial set by Walker, but I've never acquired the Candid work of Spann or Hopkins. I'd probably like it. I spun the entire single disc comp of Charles Brown last night. Something, for me, very soothing about that work. I can see how some might find it repetitious, but I find it slowly intoxicating, if that makes any sense.

Here are two Mosaics that don't get much discussion. I own neither, but do have the two single disc EMI/Aladdin collections representing Brown and Milburn: Both of these discs are highly recommended. Anyone own the Mosaics? Further comments? I thought we could open a space here at Organissimo to discuss these two artists.

It does! I also spun Reincarnation of A Love Bird. I A/B'ed the new mono remaster with the early German edition. I wouldn't say one is "better" than the other necessarily, but the new Japanese edition is punchier. Very enjoyable. Cecil Taylor's Air (the new remaster) is the same way.

D'oh! How could I have left this one off my list? I would cram it between my #4 and #5.

I purchased two of these new Japanese UHQCD Mingus discs. So far, I've listened to one: The Black Saint & The Sinner Lady. I was able to give it a close listen all the way through as well as A/B it with the U.S. digipack release (from circa 1995). Impressions: • Yes, this Japanese version sounds better—not compressed, and very natural. The first few seconds of the disc are free of the minor distortion that's present on the U.S. digipak edition. (Plus, it's nice, from a nerdy point of view, to have the Impulse! logo back on the cover art. I hate it when U.S. editions remove original logos.) • I noticed, with the U.S. edition, the mids are considerably boosted. This helps to bring out some of the inner voicings, but the treble, as a result, tends to suffer some (rolled off?). Still, overall, the U.S. edition, considering its age, is really not that bad. I wouldn't rush out for the Japanese edition if you're happy with the U.S. edition. • This new Japanese edition, even when the volume is turned way up, creates no ear fatigue (well, that was my own experience). You can also hear more clearly where the engineer (Rudy) placed Charlie Mariano's overdubs. Oh, and the section with Jay Berliner's guitar? Considerably cleaner and more present. The piano still sounds somewhat tinny, and some of the edits just weren't that good to begin with. Jerome Richardson's solos are of course still thrilling and jump right out at you. This is such an expressive, even monumental, album—it's no wonder people consistently list it as their favorite, as well as Mingus's masterwork. I first heard it in 1990, and have never tired of listening to it. It helps though, I think, to be able to listen to the album in its entirety, if possible. Not only was this a peak in Mingus's recorded output, but I think it was for Charlie Mariano as well. Without Mariano on Mingus's Impulse! records, the vitality and passion wouldn't be what it is. He gave it his absolute all, and we get to repeatedly reap the rewards. In some ways, though I love Dolphy with Mingus, it's Mariano who was the perfect saxophonist for Mingus. Oh, and these new Japanese editions come with a curious, but beautiful, plastic folder of sorts—with two well-reproduced photos of Mingus and "100th Anniversary" type. I don't know what one would use the folder for, but as Mingus paraphernalia, they're quite attractive.

Do you know why the site is closing? I couldn't find any information about it. It's kind of amazing to me that Vinny put out a physical (!) 12-disc box set.

Oni Puladi makes me feel like I'm listening to a backward Beatles guitar solo. Very cool that that Edelhagen record exists. For me, the most enduring version of "Ida Lupino" is on Paul Bley's Closer, the version with John Gilmore coming in a close second.

Same. My way in to Brazilian music came through Jorge Ben's early records. (Really looking forward to the upcoming reissue of Pascoal's Hermeto, originally on Cobblestone.)

I haven't. Where should one start?

That is a swinging record. Excellent really, but for some reason I've never been able to connect with it. Zoot was like Johnny Hodges in that he (almost) never played a flawed solo, but there is such a thing as Zoot over-saturation. Probably even Zoot would have agreed to that. Still, when he was on, it's like the best breakfast, the best coffee, and the finest slippers one can imagine. (Other analogies rightfully apply.) I think I find Al overall more exciting, but Zoot more reliable (if that makes any sense). I love both.

Listen to "Naked Hamlet." On YouTube. 1972. Brilliant but (indeed) unsustainable.

You're going to love it! (I don't have the SACD though; just the regular OJC.) Sublime music. Everybody collects in different ways, but I'd recommend, with Zoot, starting with the Pablos and working backward. The early work is good, but the Pablos have so much nuance to them. Oh, and (if you don't have it already) look for Zoot's Argo date, titled ... Zoot! That one is special. I also love the two ABC/Paramount records with overdubs, but I might be in the minority there.

Jackie seems looser on this date. Maybe because it wasn't his?

I'd never seen Hobart Dotson before. Love his work with Sun Ra.

I did the same thing yesterday! Mine were: 1. The Black Saint & The Sinner Lady 2. Mingus Mingus Mingus Mingus Mingus 3. Oh Yeah! 4. Mingus Present Mingus 5. Mingus (Candid) 6. Pre-Bird 7. East Coasting 8. Mingus Ah Um 9. Blues & Roots 10. Changes (Vol.s 1 & 2)

Really enjoying this one tonight: