six string

I really like John Taylor a lot but didn't know about this band until last year. I was in one of my local stores today and someone dumped a bunch of ECM lps on them. Among them were three Azimuth albums, so I bought the first one. I haven't had a chance to play it yet, but will tonight. Should I go back and buy the other two? I just ordered the Charlie Haden/John Taylore lp on NAIM and I can't wait until that one hits my front door.

Are there any fans of Don Cherry's albums with Nan Vasoncelos and Collin Walcott (Codona) on the ECM label? I acquired the third lp a couple of years ago and liked it alot. Today I found the first two on lp, so I bought them. I haven't heard them yet, but I like the group sound.

Can anyone comment on John Lewis's recordings of Bach's piano music? I believe there are three volumes and they are a little pricey, though I would buy any of them if I knew a little more about them. I have Keith Jarrett's Handel recording and love it. It's hard to imagine John Lewis not doing a fantastic job on these. Any info much appreciated.

I don't have this one so I can't comment on it specifically, but I'm with someone else here that mentioned that they weren't into jazz vocals much but Abbey was different. She is one of the few jazz vocalists that I own multiple albums by. Looking at the musicians on the date, it sounds like a no brainer. I love her phrasing and the sound of her voice. She's really special.

Mulligan Meets Monk. Mulligan takes a nice solo on Round Midnight and everybody's hopping on Rhythm-a-ning.

It's on Riverside with Wilbur Ware and Shadow Wilson. I think it's great.

Have you not heard Joachim's trio featuring Daniel Humair and J.F. Jenny-Clark? I have two and both display an especially tight and ferocious rhythm section imho. Daniel Humair is a drummer of tremendous talent.

Is it called Blues In Time? It's one of the few titles I have with Gerry Mulligan. I really like the Mulligan Meets Monk album, but I'm more of a Pepper Adams kinda guy.

I haven't acquired any of his music yet, but last year I saw him perform the music of Andrew Hill at a small venue nearby and loved it. I was aware of him, but never picked up anything by him. It was the program that got the suction cup off my butt to go and hear him. It was a fantastic show. He showed plenty of respect for the composer but he and his band put there own little twists into the music to keep you on your toes. He repeated this performance at the SF Jazz Festival last fall, opening for the great man himself. I wish I had been able to catch that show. I'm sure it was great.

I've got the lp version of this album on Vortex. The cover states that it is distributed by Atco Record Sales and has the Atlantic address 1841 Broadway next to it. It's one of my favorite Chick Corea albums too. The Song is Singing and "Is" are both pretty good too, although I do prefer Tones. I haven't played it in a while, so I should probably give it a spin today. I've been listening to a lot of stuff lately that has been brought up on the board on different threads. Sometimes I think my wife is right when she says I own plenty of music and don't need to buy more. Well, she's half right, anyway.

Last night I was spinning my latest finds. Charles Sullivan's Genesis (Inner City) Woody Shaw's Rosewood (CBS wlp) Art Pepper's Friday Night at the VV (Contemporary) Not a dud track on any of them.

Yesterday I found Charles Sullivan's first album Genesis. It's a great album and his stuff is next to impossible to find around here.

Me too, or between the sleeve if it's a getefold cover. And all inside in a plastic outer sleeve, for dust. I always store my lps outside the cover but wth a plastic cover over everything. Ring wear and seam splits are my reasons too. I know it's a little anal, but I want to protect the covers as well as the records. After all, a lot of the covers are works of art too!

I didn't know this album existed until I bought the Rhino release around 2000 or 2001. I was really surprised to see Bill Evan's name on the album. As someone else mentioned, Bill Evans did have quite an influence on the outcome of this record. It's one of my favorite Mingus albums now.

I have Basra and love it. I've never heard of this album but I will be on the lookout for it in any format. Well, probably not 8 track. One of the things I like so much about Basra besides the burning solos of Joe Henderson, is the mood album provides. I seem to go in a similar space everytime I hear it. It sounds like this record has a mood too, one which I admit sounds interesting.

First buy music. If you do that well your collection will be worth money. Next - I sold an original of Watkins' Transition (missing one label) for $1000 12 years ago. Next - I bought the BN twofer including the above music and 2 more Transition dates for about $20. Now - think about it. Another thing worth noting - Transitions were pressed of friggin' styrene! Personally, I believe the "fetishism" for "originals" has little to do with music. I am interested in music. Call me stupid. First, I couldn't agree with you more. I'm a big fan of hardbop and I own a lot of music that features Doug Watkins, hence my interest in his solo output. I was a little disappointed with the MUSIC on At Large. Again as I mentioned above, not a bad album by any means, but not a great date IMHO. I prefer vinyl over cds most of the time, so I took a chance and bought the Classic version over the cd twofer. I know myself well enought that if I had bought the cd and loved At Large, I would have probably ended up buying the lp too which means I would be out $50.00. I understand why you believe in this fetishism for originals but as I also stated above, the originals have the benefit of being pressed when the magnetic tape was in primo condition. Does that mean I would spend hundreds of dollars for an original? No, my pockets aren't that deep. What it does mean is that I keep my eyes open for originals that do pop up occasionally in places other than ebay and record stores. I bought several hundred jazz titles from a friend at 50 cents to a dollar a pop and got some great titles because he didn't want them anymore. So it is possible to own original Bluenote lps without paying through the nose. I too am interested in the music and when I can find an original that I don't have to mortgage the house for, I buy it, but only if I want the music, not because it's an original.

I didn't realize it was so rare. I found a copy several years ago at a local record shop. Is yours mono or stereo? Mine is mono. It's one of my least favorite Weston albums too! Makes me think of my response to the What is rare? thread.

I apologize if someone posted this already, but I read through these threads and didn't seen any comments about the age and condition of the master tapes that Classic and other labels are using for their pressings. My understanding is that analog tape, even when properly cared for start to degrade after 40 years. If you do the math, those Bluenote albums that people are churning out are at that point in their lives. So, of course and original pressing is going to sound better. If you are lucky and find an inexpensive copy as I have several times in my life, good for you. Otherwise you have to decide, do I want to spend $200.00 on a copy of said album, or get a sealed copy from Classic for $30.00? I would agree, that I would prefer an original pressing almost everytime, especially with Bluenote, but at least Classic is giving some of us a chance to purchase decent copies of an album that is difficult to find or prohibitively expensive to purchase. Most of my purchases of Classic records have been jazz and classical and they have been very good facsimiles of the real deal. Maybe not as good as originals, but considering the alternatives....

Doug Watkin's album At Large on the Transition label is supposed to be very rare. Small label, small number of lps pressed by a mainstay in the jazz bass department. Goldmine has it listed for $1000.00 in near mint condition. Here's something I will add to the discussion. I bought a reissue of this album from Classic for $30.00. Good deal, considering that you won't find a sealed copy of an original in your lifetime. I will be honest and say I was a little disappointed in the music. I don't think it's a bad album by any means. It's a solid hardbop album, but if I had paid a lot of money for an original copy, I would have been a little disappointed. So, just because a record is considered rare doesn't necessarily mean that the music is as good or better than one that isn't so rare, or that you will prefer it over something less rare (and less expensive). Rare is sometimes just that; hard to find. On the other hand, I have some albums that are considered hard to find, but not worth a lot of money. So, rare doesn't always equate to big money either.

Did Booker Ervin put out any bad albums? I haven't found one yet. Someone mentioned his Prestige band with Davis, Dawson, and Byard and I can't agree more. That is one hell of a band. Anytime I see Alan Dawson and Richard Davis together on an album, I buy it. If they throw in Jaki Byard or Andrew Hill on piano, all the better! Those guys can do no wrong in my book.

I have many favorite albums by Kirk, but these are certainly part of that list. Interesting covers too! One of my favorite albums that are pre-Rhasan is We Free Kings, especially with that blazing opener Three For the Festival. Then there's Domino. Wow, so many good albums from him. Much like Booker Ervin, nearly everything he did is good in my book. Two of my favorite tenor players in jazz.

All I have is Winchest Special but it's a solid date. Of course, having Benny Golson on your album certainly doesn't hurt.

I picked the live date since you have two volumes of best of's. Even if a couple of songs are repeated, it's a live date, so there are going to be variations.

I have a copy of Eric Dolphy's Outward Bound on a gold label Prestige. It's not mentioned in the Goldmine book.

My only Herbie Mann album is Nirvana with the Bill Evans trio (Chuck Israels and Paul Motian) on Atlantic. Good enough for jazz elitists.