Roundsound

Has Face to Face been released before. I have the others. Except for absolute favorites, I stopped the merry go round of buying things 3 times.

I've always gotten a kick out of the fact that Jerry's bday is the same as mine. To me it's a cosmic confluence. I supposed that OrchidDoc has the same bday as PigPen. By the way, I noticed that the longest cuts on Vault III are the PigPen features.

It was terrific to see KD in action. His tone & style is distinctive. The clip is very illustrative of his sound. Any idea when this was done?

That was amazing. Both Lee and Helen are tragic figures.

Likewise, I was surprised how easy it was. I clicked & it got saved on the computer and it started playing. However, they were only individual cuts

I find it hard to believe that the biography author disses the Carribbean Fire Dance solo. I agree with Hard Bop that it is an outstanding solo. Now the solos on Lighthouse are relatively short. Maybe Lee was having problems then. Most of the soloing is from Maupin & Mabern on Lighthouse. I still enjoy Lighthouse because it is Lee in a live setting and it still is terrific.

I'm excited. To save on shipping, I'm getting 2 other Dick Picks with the new old show.

I saw Sonny in Miami a few months ago. This was the 3rd and best time I've seen him. He had the same band although I do not believe the percussion player was there. I thought Sonny was unbelievable. His mind must be so integrated into the possibilities of the song. Also, I thought Victor Lewis was the difference maker. He is also a master muscician. Bobby Broom was just fine when I saw him. I would think because he has been with Sonny was a few months that he is permanant (for now anyhow).

Should we be excited about the new release. I noticed it was multitracked. The sound should be real good. Has anybody heard this concert before so we can get a review.

Likewise, this is a terrific set of music, showing off GG and Sonny. The first time I heard It Ain't Necessarily So, I think I must have been going 100mph, I was so in the groove.

KFed is nka FedEX

I bought the Diz & RE sessions some years ago. From what I remember, the Diz solos were much more advanced and interesting than the RE solos. Because Im speaking from memory, I can't pin this down. However I think that RE was basically reiterating the melody within the chords and Diz was playing something totally new. Im not sure if these sessions are in the box set or not.

While he was terrific in his comeback years, he is still one of the prominant bebopers, who could hold his own with Bird and all the other terrifically proficient players of the then new thing. For this reason, I think his Savoy sides are terrific to see what the prominant players of the day were playing and also to hear HG with some peak performances.

Much ado about nothing. I thought the original email was curt, yet expressing a critical viewpoint. SY expounded about his point in the thread making it sound reasonable. I have not heard of this set, yet it sounds like a labor of love and should be appreciated by jazz historians. If a major company was putting the same set out for mass commercial sale, a criticism of not a full listing of musicians would not be acceptable. This was clearly not the case here. It seems that SY did not fully appreciate the context in which the set was made. We should merely applaud that the set was a good addition to the history of jazz, which we should all appreciate.

The other day I was in my parking lot playing the Dead loud in my car. A fellow having a smoke outside my office building approached me to tell me he was a bigtime Dead head, who went to dozens of concerts. He has a bag full of tapes that he wants to convert to CD. Any suggestions as to how to do this.

I have all of these, mosaics and otherwise. Here to Stay is real good. Philly Joe is top rate on this as usual. The Lee Morgan is on his out of print Mosaic. Everything by him, even his younger day stuff, is worthwhile. The Donald Byrd is part of his mosaic. He was at his playing peak at those days, (atleast as evidenced by the recordings) in my opinion. The Silver is real hot and has a lot of energy. The Hutcherson is without horns and is excellant. I don't recall the McLean. I assume its the later part of his Blue Note period. Considering all his reissues the last couple of years, I would make sure you get the rest of his mid 60s output (from the Mosaic), which is superhot.

I was lucky to find a CD at a used store. I thought it was terrific. I still prefer him in an acoustic setting. In effect he's still straddling both electric and acoustic and this. I thought Miles played with a lot of intensity and the band was having a good time.

I was thinking whether a financially successful performer such as Sonny Rollins would want to record his shows ala the Grateful Dead and sell CDs or downloading on the web. I would think that such an operation would be financially successful and would document Sonny's improvisations and genius. I would think just about the entite audience at the Miami show would shell out $20 or so for such a recording.

I've seen Sonny 3 times. The last time he was also at Gusman, an old time facility, where Miami Ballet has often appeared. Anyhow, this was easily the best I've seen of him. I was thinking I've never seen an instrument played so great. Tremendous improvisations, then he comes to a melody fragment and then improvises on that. The difference maker was Victor Lewis. He was making the other soloists more interesting by constantly changing pulse, while keeping the beat. He is a tremendous maistro and should be spoken of in the same breath as any of the supreme jazz drummers. He received the key to the city before the concert. He told the audience the name of one of the standards played. I forget the name, but it seemed to me a more obscure tune. I thought the encore was Tenor Madness. I've been wrong before. The tune before the encore was a bop influenced blues authored by one of the band members, but it was a burner. But back to Sonny- People leaving the concert couldn't believe it and rightly so. Just tremendous!!!

I've been noticing that the primary source of reissues has been Blue Note. And many of the RVG'S have already been bought a few years before. Many of you probably had most or all of the Dexter Blue Notes before the RVG'S hit. In the mid to late 90's we had good reissues from several sources, Joel Dorn's Muse stuff, Verve, Impulse, Fantasy & even RCA to some degree. Now almost all of that is gone. I think Mosaic will get a lot of momentum out of filling the gap. Even though $15 is a little pricey to get something you may only consider collection filler (possibly the Al Cohn), nevertheless they are mostly interesting reissues and I hope they can put out maybe four every 2 months. As long as the single CDs doesn't prevent other reissues from coming out from the same artist, it is a win win and a relief that such interesting CDs that will be high quality will come out and be easy to get.

I got it years ago. I don't have the recent reissue. I always thought it was an underrated session. Sometimes I think that DByrd sounds ordinary (not up to the standards of some of the other great trumpet players of the era. But sometimes he sounds terrific) Anyhow I would recommend it also

The CD's coming out Sept-Nov are the best batch of jazz in recent memory: Monk-Trane HalfNote Trane Blue Note Connoisseurs Two solid Mosaic selects Cellar Door Heavy competition for reissue of year between Blue Note and Verve.

The other night, before the muscial number, Conan's staff put together a still of Round Midnight and Take Five in the background and Grant Green's Street of Dream cover in front. The street signs had block printing of Conan's name with Max Weinberg's group, on the top blue portion of the cover. The blue note insignia was still there. I always enjoy Max's band's jazz references. When a jazz event occurs (such as a death), Max's band is right on top of it with a reference (ie Work Song when Nat passed)

My favs of the sets: 1. Gil Evans 2. 2d Quintet starting with ESP 3. Interim group (George Coleman etc) 4. Coltrane set 5. Prestige set 6. Blackhawk live 7. In a Silent Way 8. Jack Johnson 9. Bitches Brew I know I prefer the acoustic stuff but how do you feel about the Electric set order of preference. By the way, I love them all.

I managed to get an advance copy inexpensively. I thought it was a good hard bop style recording. Green Chimneys is the best cut. Donna Lee is done in a bebop fast style. Wes Anderson was better than I expected and indeed did have a little bit of Dolphy in him. (a little bit) I saw Eric Lewis live with Elvin Jones. He does have a dynamic offputting, somewhat avant chording style. This is not shown on this recording. Also he get some, but not enough solo space. WM sounds good, but doesn't pull any dramatic moments or any oh my goodness moments. But make no mistake he is good. Joe Farnsworth sounded very strong. I must say that I am usually disappointed with WM. I have traded in a number of his sesssions, such as Magic Hour and the Snoopy CD. I have kept only kept the Monk, VV recordings, and Vol I standards.