Bill Nelson

Upper-case jizz all the way thru.

"Favorite songs"? Uhh, no. Fortunately, Lennie kept his singing in the closet and the shower.

Check the Discography at the end of Gavin's book. There's six recordings which he recommends -- two of them highly. I don't believe there's much we could possibly add. (Were you hoping for some rare bootlegs from Bricktop's?)

RE: Musician Jerks I don't really let what I read about bad behavior influence me. However, if I'm a paying member of the audience and I have to endure a prima donna in full bloom, nastiness to the band, or overt rudeness to the audience -- that 'performance' is gonna color my perception for a long time. In 1969, at a Buddy Rich gig at the Univ. Rhode Island, guess who rode the limo while his band took the bus. And guess who couldn't be bothered sign autographs -- even of a 15-year-old standing in the February chill outside his limo. But he said,"All right, kid", signed the LP, and zoomed off. That's Buddy for ya.

Larry Young w/ the Tony Williams Lifetime -- They played at the 17th Annual Jazz Festival in Newport, R.I. On Saturday afternoon July 12, they were the headliners and Larry Young "got into a swinging groove", as Dan Morgenstern reported in DownBeat (Sept. 3, 1970). The groups that played (in order) were: Elvin Jones Quintet w/ Frank Foster, George Coleman, and Wilbur Little Chico Hamilton Quartet w/ Arnie Lawrence, Bob Mann, Steve Swallow Gary Burton Quintet w/ Keith Jarrett, Sam Brown, Steve Swallow, Bill Goodwin Very exciting, mind-blowing music to a 16 year-old sitting five rows out. Also, I talked to McLaughlin just before Lifetime played. (By donning a 'Staff' pith helmet and helping the roadies onstage.) George Wein got hip to my ruse, pointing me out and bellowing, "What's HE doing here?" Fortunately, I knew the stage manager, and was able to hang in.

LAL: "Is this also true for CDs?" Answer(s): "No." "Not nearly." It's the apples/oranges equation. LPs have cardboard jackets and paper inner sleeves which act as sponges in attracting moisture from damp environments. Even the paper label around the LP spindle hole can serve as a 'host' for mold. CDs are much more resistant. They're finished with a protective coating and are much easier to clean. Also, there's no grooves for the mold to seep into. And there's only a paper booklet nearby (not in direct contact) which might possibly serve as an 'agent provocateur'. Of the two, CDs will emerge from a dark closet in better shape. during manufacture.

Can the rest of us learn from this? Yes! 1. Never store records in a basement. Even without a flood or busted pipes, the moisture accelerates the growth of mildew and mold, starting inside the jackets and paper inner sleeves. If you've have absolutely no choice, then store 'em off the floor and close to any source of light. Randomly check them every month to catch the first signs of mildew. No cardboard boxes! 2. Storage in a dry, spacious attic that permits light is acceptable. Dark closets or other enclosures will eventually lead to mildew formation. Your LPs need to breathe and be seen, admired, and enjoyed. Boxing and 'deep-six' storing in funky spaces is the kiss of death.

I must correct the sequence and authorship of Goldmine Jazz Album Price Guides: 1992, 1st ed. -- Terry Leonard, principal author 1994, 2nd ed. -- Neal Umphred, author 2000, 3rd ed. -- Tim Neely, author As one can surmise, Goldmine didn't wait long to pull their 1st edition. There was no mention of Terry Leonard in the 2nd ed. acknowlegements.

This site is just a web-based price guide... and a dubious one at that. If you've seen a Terry Leonard price guide, you'll know how error-prone it is re: LP pressings and prices. Goldmine dumped his Jazz Price Guide totally (no back-orders) and handed the 2nd Ed. to the more-responsible Tim Neely, who thoroughly researched the collectible jazz-selling community. My advice is two-fold: Get a recent Neely Goldmine Jazz Price Guide and check Ebay for the last 30 days of bid activity as a frame for your bidding range. An Ebay jazz bid-closing is just a frozen moment at a particular time. There's no need to strictly adhere to any guide as the ultimate arbiter. Many jazz LPs close at half their 'book' value -- it's just a moment in time.

Well I sure dug it -- as I wasn't on this scene last November. (Thanks, Foghorn!) As for real jazz club booking and concert 'programming' in Athens-Atlanta, it's a sure way to lose the farm, the inheritance, your shirt and wallet. You might as well go for a ride in the bronze-handled sedan, serve a 'major' in the oblong penalty box, or hold the line in the pine phone booth while waiting for The Man to Pick-up. But at least you'll have gone out in style while making a joyful noise!

Atlanta Show, Sat. Night 4/3/04 Was there and dug it supremely. (No, I wasn't sitting in C-104) Such an incredibly intuitive mind-meld of Shoter and his three Sons of Miles. They ARE the post-Miles classic quintet of 1966-68. Without electric keys, of course. Danilo is a hybrid of Chick and Herbie. The water bottle on piano strings was just for one number. Didn't mind the absence of tune titles -- they're just words.

He's famous for playing the hammered stromboli, if you must ask. (That's AFTER he and the stromboli get hammered, of course.)

Jazzmoose caught my typo. Meant to say 'unformed', not uniformed. Both you and Brad were civil, not civilian, in your ripostes. Appreciated, and I'll post with greater respect.

Point well taken. I'll cool it down. Written support for Tristano is better-stated on another thread. (See: the the T/K/M Mosaic Liner Notes, Larry Kart reply) Obviously, not everyone 'gets it' right away. One reason why this set will max-out at 4,500 on a 7,500 limit.

"...but these guys overall don't excite me that much." Bradski, you fascinate me. Tell me more. Tell me anything specific. Your vague, uniformed riposte has given the deep-freeze to this thread for the last 50 hours. If you don't understand Tristano and Konitz, perhaps you're still young. And years from now, when you can truly hear how Tristano and Konitz are dealing with musical space and playing on the 'inside track', maybe you can cop this set for a grand. Whatever Tristano you've already got has been rendered obsolete. The tape transfers and CD mastering of Malcolm Addey are unsurpassed. At some point, may you have the wisdom to hear and know.

Can anyone provide a 'last chance' status report on the T/K/M set? My guess is that Mosaic is counting down the last 100 copies. If so, then this would mean about 4,500 copies were sold of a 7,500 limited ceiling, or about 60%. If only the Coen brothers had used this music as a soundtrack source for 'Oh Lennie, Where Art Thou', the full run woulda sold out in 5 days. But don't get me started. At least Ralph Stanley's no longer stuck playing rural county fairs.

Agreed on all except '20th Century Drawing Room'. Too precious and effete -- make that lightweight and lame. Listen first before pulling trigger.

Just relax and try not to make a big deal out of it. The first album listen isn't the time for intense scrutiny, or applying it against all the intellectually analytical reviews you've stored in your head. Overly-hyped expectations are not in the Tao of jazz listening pleasure. Select the disc that matches your mood and 'cool it down'.

Yes, I'm with Brad on my one DW purchase, the 3-CD set of Vol. 3. It's got all of 'After Hours With Miss D' and 'Dinah Jams', both of which can be purchased as single CDs. If you want more, with Quincy Jones arrangements, then 1957's 'Swingin' Miss D' and 'DW Sings Fats Waller' will wrap it. But her 1954 sessions of June 15 ('After Hours') and August 14 ('Jams') are THE ones to focus on -- and the Mercury Vol. 3 does it nicely.

Just ordered my T/K/M set today. You'se guys are killing me. Last two weeks I've been asking myself,"Well, what ARE you waiting for?" In six months they won't be selling for $96 or be perfectly mint. Ain't no need to play 'Procrastinator' for me except to dig Lee Morgan!

"...but it really, really never ends." How stone-to-the-bone true! About 20 years ago, I began to realize my Economics 101 Law of Diminishing Marginal Utility -- that you get proportionally LESS benefit (and enjoyment) from, say, your 20th Lee Morgan album than the 19th. In consuming recorded music, the LODMU varies with each artist and collector. But at some point, the 'Law' kicks in -- and you can't deny it. Whether or not you're aware of getting slightly less pleasure, the 'jones' fix is in and the monkey is still riding on your back. In this new milennium, it might be the Ferengi Laws of Acquisition and/or the antics of Karl Rove, which will take most of us to the cleaners. But that's for another topic thread.

'Street Singer' may have discovered the 'beginning of the end'. However, a good many OJC titles can still be found in retail store record bins, often for a couple dollars less. If SS can scramble to a few such stores, it'll be even sweeter to hold 'em and score 'em. I've never found OJC pressings or playbacks to be dubious in any way. Of all the major labels in the last 20 years, Fantasy provided us with the best quality, low-cost vinyl reissues. I should've bought more. It looks like the party's over.

I use the same system described by Paul Secor: 1. ALL jazz artists are alphabetized, and 2. Each artist's ouput is arranged chronologically. Various Artists are at the end, arranged by record label. Not terribly difficult or anal. I've heard of one collector who files his LPs strictly in the order he acquired them. (I'd love to go thru his bag at a record show and then 'shuffle the deck' when he wasn't looking).

Got mine during the early (1985-87) wave of Polygram GEMA CDs which were briefly distributed stateside prior to establishing U.S. manufacturing plants. These initial jazz CD titles seemed to be plucked almost randomly from the MPS and Verve catalogs. They all say: "Made in W. Germany by Polygram" and the clear plastic of the jewel cases is extra sturdy. 'The Hub of Hubbard' teams Freddie and drummer Louis Hayes with three members of the Jones-Lewis big band (Eddie Daniels, Roland Hanna, Richard Davis) who were touring Europe in late '69 and had paused in Villingen, Germany to record small-group sessions at MPS. This one cooks the hardest, with 'Just One of Those Things' a ripper at breakneck speed. The dull front cover artwork seems to put some buyers off -- I've had to kick some of my jazz buddys to get them to buy the vinyl. I bought my CD in '87 and would've snagged extras because of the high level of musicianship and the MPS recording quality. This 1970 album finds Hubbard between his Atlantic and CTI contracts -- just over a month before his sessions for 'Red Clay'. He would not record a straightahead jazz LP again until 1980, when Columbia let him go. ("Free at last!")