Late

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:

Absolutely. It took Luke a while to get those ii-V-I's down.

A person has to be in possession of the Executive Blu-Ray Director's Cut edition of the series. The Empire Strikes Back adds 42 minutes of Yoda spinning his favorite vinyl in Dagobah. The jedi master was partial to the Tristano school.

Thanks for sharing that video. It made me want to hear more Jeanne Lee!

I forgot that I started a Noto thread 15 years ago. Listening to Act One right now.

Always by memory too!

Big Bras

Truth.

Yes.