Mark13

There was some discussion on this when Solid in Japan released a batch of titles from the Charlie Parker Records-catalogue in 2019. The common view in that brief thread was that there was not much to gain from any fancy remastering since the quality of the original recording was so poor to start with. However, @jazzbo posted that he knew better sounding versions of this than were included on the individual disks of the Membran-set, so maybe he can be of help. Since I don't have the set and was only interested in a few titles anyway, I picked up the Solid-edition (CDSOL-46516). To my ears it's pretty decent in this 'latest remastering' (according to the productinfo provided by CDJapan), but unfortunately I have nothing to compare it with. Maybe you missed this release? It's not listed on Discogs, but stll available. CDJapan has it on backorder.

'Sea to shining sea...' Now, that's A LOT. All of which I have managed to avoid so far. Beginners-luck I guess. But if it takes navigating these seas to go deep (enough) with Bird, count me out. My interest is not academic, nor am I in it for the satisfaction of collector's ego. Which is known to exist. And prevail over the interests of artists. Be that as it may, I've listened to it once again and I just wished that I could enjoy this a little more.

It became available here in The Netherlands a couple of weeks ago and I have already given it a few spins. Audio is not spectacular but decent enough. The programme - as one might expect - is somewhat more conservative than on American gigs, where Shorter's tunes were entering sets. I just checked my booklet, but no binding-errors here.

Glad to have been able to pick this up (what's with the availability of the CD-version of this?), but I don't think will give this too many spins anywhere soon. I know I should not, but I find the audio really problematic. And I'm by no means an audiophile. I realize my issues with archival releases like these are just that (MY issues), but I cannot help wondering how the artists would feel if they were around. Are we doing their artistic legacies any justice? To be sure, Bird's playing here is strong throughout, but still...

Difficult to choose between those live dates imo. Jazz Crusaders were always a group that excelled in consistency, both in the studio and onstage. When I ordered the Mosaic I was only familiar with 'Freedom Sound' and maybe expected a few dreary spots here and there. To my surprise, there were none. But with regard to the 'sameness' of the material, I can relate to that. I never understood why the Jazz Crusaders+ albums ('Chile Con Soul' and 'Jazz Waltz') were not included. Nothing shockingly off the charts there, but still, they present a different angle. Rather than adding an extra live-album, I would go for one of these.

Picked this up from the recent batch of Japanese Universal reissues - and what a nice record it is. With Roy Haynes leading the proceedings this was likely to turn out a bit more adventurous and 'in-your-face' than most regular Pacific-dates of the day, but I'm somewhat surprised by Strozier who plays with a toughness and biting edge that I did not know was there.

Not tonight but last Sunday I saw Bill Frisell play Vredenburg/Tivoli in Utrecht. That was somewhat of a coincidence. That morning I went through a stack of 2nd hand cd's that I had recently bought and decided to give his 'Disfarmer' its second spin. Listening to the music, still enjoying my morning coffee, I got curious what Bill was up to and when I checked online I found out he was scheduled to play in nearby Utrecht to end a brief European tour that evening. As there were still a few tickets available I jumped at the opportunity. I've been to several of his concerts over the past 30 years or so and my tastes have drifted in a slightly different direction but it took him and his band exactly 2 seconds to spellbind me. The interplay, dynamics, the seamless way in which one tune morphed into the next, it was absolutely breathtaking.

Extensive and insightful review - great job! I will definitely be picking this up.

I was never a big Stones-fan but there was something about Watt's playing that got to me. I've tried to figure out what it was in his drumming that brought virtually all the sexiness to the sound of that band, but never quite unravelled the mystery. And I'd like to think that he has taken that secret with him - wherever he's gone. RIP

I ordered through Amazon.de and my set is expected to ship within the next few days.But they had it in a record store I visited today and the box is sturdier than the Mosaic Selects. In size and casing it's very similar to the Sonny Stitt ('Stitt's Bits') set that Concord released in 2006.

I've not been too excited about some of the recent Bill Evans-releases on Resonance, but this (on Elemental) is a very fine set with stunning audio. As a Dutchman, it's somewhat painful to see what great jazz initiatives were funded by public broadcasting organizations back then. Unfortunately, we're not the same country anymore.

My impression is that this is flying somewhat under the radar but of all the recent Montgomery-releases this may be the one to get. Wes was soaring during his brief tour of Europe in the spring of 1965, the band sounds tight and well-rehearsed and the audio by the radio-technicians of the NDR is simply sublime. And I haven't even seen the Blu-Ray with the studio-rehearsal yet. Just a wonderful release.

I ordered 'Circling In' and 'Circulus' from this batch and received them yesterday. I'm probably slightly younger than most here and unfamiliar with the original twofers that were released in the 1970s but these seem faithful reproductions. Liner-notes (by Stanley Crouch and Robert Palmer) printed on the back-sleeve are continued inside the booklet which also contains black-and-white photography. On 'Circling In' the presentation of the music has been adapted to the format. The order of the tracks is maintained but CD 1 only contains the 1968 material which comprised side 1 and half of side 2 of the original vinyl-release. All of the 1970-material is on CD2. Seperating the sessions for this reissue makes sense but as a result CD1 clocks in at only 29 minutes, CD2 almost doubles that. Be that as it may, I'm happy with my purchase. Both albums contain prime Corea, and a lot of the music has been unavailable for way too long.

Work with Coltrane, Sonny Clark, Mobley/Morgan, The Jazztet, The Messengers - his resume is staggering. And then all those little hardbop-gems that were released under his own name (I especially have a soft spot for the Savoys). What an amazing career... And supposedly, he was fun to be around with also. RIP

I am deeply aware of the difference. But you're right, I should have avoided 'emulate' and used 'incorporate' instead.

In Ornette Coleman's music, and Ayler's even, I hear an artistic need to stretch conventions, to formulate a new musical language. When I apply notions of modernism, it helps me to figure out where they stand, so to speak. With Coltrane, not so much. His records document a journey into the self - up to a point where stylistic issues becomes irrelevant. Breaking Bebop-conventions, redefining The Blues seem to be the least of his concerns. I cannot claim that on an intellectual level I do 'understand' what is going on on these final records, but at least I've given up trying. Which - for me - has been the key to appreciating them. .So yeah, it's the most 'personal' and expressive music I know. And the most spiritual. Maybe that is also the reason why even the most gifted of post-Coltrane players have generally not dared to touch it, Style may be emulated, but how do you internalize a life? In David S. Ware I directly hear Ayler, not late Coltrane and in my book that sort of makes sense.

I have a Japanese mini-lp edition (VICJ-61103) of this - which I think is not on Discogs - and on my copy the tracks are separated.

There are probably better reasons not to go for this set if one has all the music, than there are to actually buy it - still I preordered. In my case it's not he few alternate takes that are missing or even the sonic upgrade that helped my decision, it's Mosiac Records and the dedication and passion they have brought to their product for the past 30-plus years.This set once again will be a thing of beauty and since we're talking some of Mr Henderson's best work here, I just cannot resist. What strikes me as remarkable, however, is that even in 2021 Mosaic continues to favour the cd-format for the majority of their releases. Having been bombarded with articles predicting the demise of Compact Disk for over a decade I thought there was only one route for record-companies and that was to go back to vinyl, but apparently the staying-power of the digital disk is greater than expected. So much greater that for Mosaic Records a 'both/and'-strategy for this set is not an option. Some posts in this thread have indicated as to why that might be the case, (Scott Wenzel's take on things was included as well) and I have found these most insightful, so thanks.

Looking back, it's hard to determine which bands or artists guided me from my teenage prog-rock inclinations toward jazz, but Paul Jackson definitely played a major part. The grooves he laid down with Harvey Mason/Mike Clark in those Hancock-groups were unlike anything I knew and absolutely jaw-dropping. And still, going back to those albums (some are great guilty pleasures, some are just GREAT) the level of musicianship always puts a smile on my face. What an awesome bass-player he was. RIP

I somehow never got around to buying this cd when it was released and then sort of forgot about it. Until a couple of weeks ago when I found out it was on sale at Dusty Groove and ordered it. And giving it its first few spins today I'm glad I did. It's slightly more conventional than the Contemporary and Enja-stuff but it's still a very fine record. Remarkable that it was done for CBS and somehow never crossed the UK borders - the booklet offers no information as to what happened there. I just checked the Dusty Groove-site and it's still there for $6,99.

Absolutely stunning player who is on some of the best and most bizarre records in my collection. The secret of the diversity of his career is - I feel - in his early stuff - the Vortex and Blue Notes. Corea is one of the rare examples (Tony Williams may be another) of a player who entered the scene as a fully formed player. Technique, but also his grasp of genre - any genre - was never an issue. As a result his recorded output does not document the gradual and painful perfecting of a craft, but the endless curiosity of a seeking mind. Unfortunately I only got to see him perform his music live once: somewhere in mid nineties - supporting his Time Warp-album - with Bob Berg, John Patitucci and Gary Novak. I remember he never looked at the keyboard once - he just soared. It was fantastic. RIP

Mosaic is a business and this probably makes business-sense. We're talking classic Blue Note material here and The market for completists of that material remains healthy - even on cd. My guess is that the orders from Japan for this Henderson-set will be pouring in. And that's just fine. If recycling the entire Blue Note catalogue helps Mosaic to stay afloat and adopt a strategy where they can alternate a Lucky Thompson- or Barron-set that stays in print forever with a safe quick-seller by Lee Morgan or Joe Henderson there really is no reason for any of us to complain.

Thanks @Dmitry!

In the 'Rollins in Holland'-thread under 'New Releases' @david weiss mentioned that a 12-lp boxed-set containing all the live material that Lee Morgan recorded at the Lighthouse is due to appear on Blue Note Records in 2021. Apparently, an 8-cd release is planned as well. I do not have Cuscuna's official discography of the label and have to rely on information that I find online. The Lee Morgan-Discography Project -page indeed mentions a lot of extra material but refers to it as 'rejected'. Is it safe to assume that the good people at Blue Note have changed their minds and now deem these tracks fit for release? Or have they made new discoveries in their vaults? I was quick to pick op the 3-cd set when it was released in 1996 but always was under the impression that it was complete. The announcement that there is enough to fill 8 cds comes as a total surprise. Not that I'm complaining. If this appears I will be more than happy to add it to my collection. Wow!

The organizer of the Persepolis-concert, Jaap van de Klomp, was interviewed by journalist Gijsbert Kamer of De Volkskrant recently and made no mention of any (radio-) recording taking place at his club. And he expressed no regrets either, referring to the Utrecht-concert as a disastrous event, with pianist Misha Mengelberg, who sat in -, spoiling the proceedings: 'Nobody was happy about that,' The 'unknown source' of the Arnhem-tapes apparently was at the right concert.