Shrdlu

Dmitry, re the multimedia stuff on the "Ultimate" CD, I could never get it to run properly with Windows 98, but my son's computer has XP; if you set XP to emulate Windows 95, with fewer colors (I forget how many colors) it runs perfectly. Hey, y'all. If the various CD versions of this album (an album which is discussed far out of proportion with its actual importance, in my opinion), why not get the Classics LP and be done with it? Or, grub around for an old BN LP - many copies were sold and I would imagine that decent copies can still be found for a reasonable price. I am happy with both the JRVG and the "Ultimate" CDs, and will never venture into the world of SACD. These CDs, and the TOCJ range, will more than suffice for the rest of my time here on earth.

and a few of them are on the Japanese CD "From Hackensack To Engelwood Cliffs", this having two tracks that were not included in the Mosaic 2 CD set. But this CD would not be easy to find.

Thanks for the review, Stefan. It's sad that this isn't a good album. I agree with your comments about "Mirrors". I especially love the first track, where Joe plays that "Poinciana" type rhythmic pattern. The album is worth getting just for that.

Was ist das?

... anyway, the AMG's comments are just random noise ... (But I find the website very useful.)

Bring on "Moose and Squirrel" (with Russian accent)

Here are some more gems: "Down Here On The Ground" with Wes Montgomery "Django" on the Cal Tjader "Hip Vibrations" LP (no CD of this, alas) "Feelin' Groovy" on the Paul Desmond album "Bridge over Troubled Water"

I am also very fond of Freddie's BN sessions, as leader and with Ike. There's no need to toss out John Patton's stuff, though. They're both excellent, and, obviously, quite different from each other.

I would like to rise to the defense of Paul's arco work. I think it's amazing, and I've enjoyed it for years. He is the only one I've heard that could keep up with the beat while doing that and sustain it, even on an uptempo number. What's shaky about it? The intonation is almost perfect, the tone is good, and he was trained by a symphony guy in Detroit. I can understand if someone took awhile to get used to it, but it's well worth acquiring the taste. Miles and Trane would not have tolerated it if it was bad.

We don't really need Michael for these. There are always the TOCJs and JRVGs, and they would sound better than the rare domestic CDs. I know some people who have those, and one could find them by grubbing around for awhile. It takes time, but I've found that you can track down just about anything if you stick at it.

My three kids are well out of the diaper stage by now, but they sure were handy! Here's something for you to consider, re how spoiled we are. I have friends in Andhra Pradesh, India, and they want me to go visit them. So I got this book on South India, published by an outfit called "Lonely Planet". They point out that the sewage system in India cannot handle toilet paper, and so alls you get is a jug of water and you have to use your (left) hand. (This grossed out my daughter!) It is a huge insult to offer your left hand when shaking hands in that part of the world. As I am left-handed, I wonder where that leaves me.

"Moanin'" has generally been ignored, but it's quite a good album.

... an Evening

Thanks, Mike and John, for the info. I'll have to look out for this live material. What a mess this reissue is. Talk about careless. I'm speaking as one who was sent burns of some tracks from the Savoy studio sessions, all scrambled up on different disks. I had to spend quite a while comparing the different takes of some tunes, to see whether they really were different. So why can't the record companies do it. This was before the recent 2 CD set came out, and I was at the time unable to purchase official versions of a lot of the tracks. All I managed to land was a Japanese Denon CD called "The Master's Touch", which lacked several takes.

When they list a Latin adjective in a dictionary or exercise book, they always give the three endings, e.g. optimus, optima, optimum, shortened to optimus, -a, -um. As was said, this is for the masculine, feminine and neuter cases. I was made to grind through this junk for three whole years at high school. It was like math in a way. All you had to do was memorize the rules and regurgitate it on the tests. At that time, any high school student would have known exactly where the Mingus album title came from. I don't think there are any hidden, freudian meanings. It was just a school cliché during that era. I also recall the gem "hasta - a spear, when addressed". I am glad to see that the schools have largely dumped the Latin since then. What a waste of time.

Kenny, try to get a copy of "I Will Wait For You" from the "The Creeper" album. It's in the Mosaic set - and that's probably your only way of getting it. This is a stunning slow performance, superbly accompanied by Chick Corea and Miroslav Vitous. It's worthy of Miles Davis and your show would not be complete without it. This item is worth two dozen routine hard bop selections, of which there are many in the discography of this trumpeter.

Probably the Hawk (just as you would have to say Louis Armstrong on trumpet), simply because he transformed the tenor from being a novelty instrument into a serious solo instrument in jazz. He has never been my favorite tenor, and never will be, but his importance could never be over-exaggerated. He was a real pioneer. I also greatly admire the fact that he did not become a "moldy fig" when the modernists came on the scene. A close second would have to be Pres. Without those guys, there would never have been the Tranes, Getzes etc. My personal favorite from your list is Trane, but his importance transcends the saxophone of course.

I didn't know that Savoy had any live Pres. I have all takes of the studio stuff (4 sessions). What's on the live CDs?

Oh, you had the original LP? That would probably have the best sound ever, after the actual session reels. That LP will be hard to find. No doubt they only made one pressing run of it.

I think I'll give us a break from those nesting tables! King, I love "The Way I Feel". It's perhaps my favorite Patton album. I agree with you, Vibes, that the TOCJ [is great [is great [is great]]]. My favorite track is the title track, which is the one on which Fred plays baritone. He really digs in on the big horn. Great stuff.

I wonder why these were never played. It sure is an excellent collection. No Tina Brooks, by the way. An estate, huh? "We brought nothing into this world, and it is certain that we can carry nothing out." (I Timothy 6:7)

I love this set, and Ron got the sound right, too (for once, there's no need to track down the TOCJs). As someone said, that trio had a gait of its own. George Tucker is a wonderful bassist, and I agree that he is reminiscent of Mingus - a very strong plucker. Let's all go and play "Wadin'"!

Some fine suggestions! Isn't it great that there is still a lot of superb stuff out there that we can look forward to. It's been said before, but a complete Three Sounds BN 1958-62 set, with all the previously unissued items (over 200 selections, I'm told) would be very popular. Surely the Nat Cole set is bigger than that. (18 CDs, wasn't it?) I sure would like to get my hands on the Hutcherson/Land non BN sessions. Years ago, I found French Musidisc LPs of the Milt Jackson/Lucky Thompson Savoy sessions. This is very enjoyable, relaxed music. Someone recently sent me a rather ragged burn of a two LP set that contains all of this, and it sure was good to hear it again.

I recently landed a copy of Vol. 3 on eBay for about 10 bucks - maybe no-one else noticed it. It's a hodge-podge that cries out for one to make custom burns to untangle all the tracks on the three TOCJ CDs. The selections on this Vol. 3 are not all on the U.S. 2 CD Conn set. It has tracks from the Vol. 1, Vol. 2, Blue Lights and Five Spot sessions. It was assembled by Michael Cuscuna, and he should have included all the 2/10/57 tracks with Hank Mobley that are in the Conn set - there is plenty of unused space on this CD. As a result of this omission, if you have the three TOCJ CDs, Vol. 1, Vol. 2, and Vol. 3, there are still three tracks in the Conn set that you don't have. The non TOCJ tracks are: Nica's Dream, Out For Blood, and K.B. Blues (alt.). So it's a rather unsatisfying situation.

Jazz1, don't be afraid to speak up, if you have an opinion. Actually, you have voiced precisely what I have always thought about him. He's obviously a good bassist, but I have never understood why all the fuss is made about him. A problem with jazz is that there is often an "official position" about a given player, and if you dare to disagree, then you feel like a truckload of bricks has been dropped on you. But each individual has a right to their own opinion. My opinion is just mine, and is only one person's opinion. So, if anyone disagrees with me, that's no problem.