take5

Aw, heck, just got the box sets. Complete Quartet studio recordings (8 CDs) Complete Live at the Village Vanguard (just in case no one mentioned this yet) (4 CDs) Master Works (includes Ascension) (2 CDs) Complete European concerts (7 CDs) After you memorise these 28 CDs, fill in the Impulse years with Interstellar Space, Stellar Regions, Live at Birdland, et al.

Funny, I would have thought the best thing American troops brought them on D-Day was the end of the Nazi occupation. But, you know, jazz and gum are good, too.

I've also gone with the three-ring binder / sleeve solution. I've moved quite a bit these past few years and the thought of schlepping all those boxes again made my panic and I knew I had to change my storage solution. I have ~2000 CDs. Here's how I do it: CDs that come in anything other than a standard jewel case (black or clear spine) do not go in the binders, they go on racks. SACDs, digipacks, box sets, etc. I have 4 CDs to a page, because I put the booklet on the back. The back liners go in seperate binders, taking up two small binders, and I use transparent report covers and paper clips to hold them. However, I've been thinking about taking all liners completely out of the binders and storing them somewhere else. I know have 11 binders that are full of CDs, and this would cut it down to 5 or 6. I just need to figure out a way to keep the liners in way that they don't get damaged and I can find them easily. The rubber-band/box solution does not seem appealing. As for the jewel cases themselves, I just throw them out. I keep a few of each kind around in case I need to sell some of the CDs.

I saw Hayne's trio open for Corea's Origina at Carnegie Hall. One of the best concerts I ever attended. The trio had John Patitucci on bass (I forget who played piano- it was a while ago before I knew a lot about some of these guys). Haynes comes out in this ridiculous orange suit and shades and he's just so cool. He told us how he remembered playing the Hall in '49 with Bird. It's true- he really doesn't look or act as old as he is. He's like the Dick Clark of jazz. I learned so much about drumming and musicianship in general just from that one performance. He was so relaxed, so in control, it was impressive. I've never seen anyone more at home behind a kit. He plays with energy and taste, and it's so hard to do both. Corea's band was great, too, and they all had a big jam together at the end, with a bass duel between Patitucci and Cohen. Haynes just got up from behind the kit and let them at it. I can't even imagine how many albums of mine he's on. His diverse musical projects, longevity, and style are amazing.

I've spent the day listening to old Parker recordings, Woody Shaw, and Meshuggah (Swedish death metal!). All of it is awesome but real rough on the ears. So now I settle down with this, my first listen of this album, and my first Art Farmer album ever. My ears are thanking me. Farmer's and Golson's tones are sweet as sugar without the nasty after effects. Farmer's command of the instrument is impressive but not intrusive- he makes it sound easy, something a lot of trumpet players have trouble converying. I think the trumpet is a hard instrument to make "sing," and he accomplishes this. The phrasing of both horn players is very nice. Someone described it as "perfect," and that makes sense- not too much, not too little, not too fast or slow or anything. Everything flows real pretty. It's also great to hear Evans. The late 50s is my favorite Evans- before he got ballad-heavy and while he was adequately balancing all aspects of his playing. My only quibble is that they do Darn That Dream, a song I despise, but that's just me.

I ordered this one because of this thread, having never heard Kenny Wheeler's music before. Just listened to it. I liked it, but don't know if this kind of music will be usurping much of what I'm listening to already. The arrangements seem rather simple (will need to listen more), but I like the melodies and the overall flow of the music. I was wary that there would be a singer (too many bad experiences with bad fusion), but I liked it here, especially when it's without words and doubles the melody line. Disc 1 was the more engaging of the two. I'm a huge Dave Holland fan so it's always nice to hear him play or solo. If Wheeler is limited as a bopper, his few solo flights accomplish a lot musically but "just barely," creating an added quality of tension that I like. Some of the "free" stuff I can live without, but it never gets to the point where I get annoyed or anything.

The mixing and blending of styles is very chic these days. No matter what music you play, it seems like proclaiming one's love of disparate styles is a badge of artistry. It's cool to mix. Mixing or not mixing does not good or bad music make, it's all about how you do it. The reason why fusion became so awful shortly after it was created was because they were mixing it superficially (as opposed to the originators who dug deep in the music and created something original). I think today's players are learning from the past and can get over the hump, creating original music that may be a blend of styles but doesn't call attention to that. In that sense, yes, the spirit of fusion survives.

I understand his frustration with the lack of jazz appreciation in this country- I share it. But I don't think the racism claims are justified. I Jones had been white, he would be equally ignored. The sad fact is that only jazz fans and musicians know about Jones, and we're a very small group of people. Maybe when Brubeck or someone like that passes it will be bigger news. As for MTV and VH1- who actually expects them to do anything about music? And when have they ever acknowledged jazz? That would be like expecting Comedy Central to air Schindler's List.

I'm ready to start seriously exploring and trying to understand the music of Charlie Parker, specifically how it influenced other musicians. I listen to Mingus and Coltrane, et al, and I think understanding as much about Bird as I can will help my appreciate the music better. I have the Complete Savoy/Dial recordings coming in the mail which I will listen to a lot, very closely. I'm no musician, but can understand some of the basic concepts that I've read about on my own and picked up when (unsuccessfully) trying to learn to play instruments- scales, chords, etc. The basics. I'd love to read something that explains, for example, how what Parker does on such-and-such a tune effected what other musicians did- technique, a bit of theory, whatever. Something relatively understandable and not too hardcore academic, but beyond the basic "he improvised the chords, not just the melody" stuff you read in liner notes. And I'm not really interested in reading about him personally. Is there such a book?

Again, that's NOT the point of the movie. Have you seen it?

Wow. That's quite interesting. Very few men under 30 can pull that off.

Sorry to see folks having trouble getting this one. I ordered it from Amazon about 10 days ago or so and got it yesterday, so try that. Someone earlier posted that he does not like bass solos. My comment is not intended as a slight, as taste and opinions are just that, but I'm just offering another perspective here. Unlike horn and piano solos, which arguably make up the backbone of small group jazz performance, I don't consider bass and drum solos necessary- that is, a set doesn't need them to be complete or excellent. If I see a group and neither solos, I don't care. So if they do solo, there should be a reason. They should have something to say with that spot, something of comparable musical value to the leads. Too often have I seen pointless solos taken just to give someone a moment in the spotlight. I can't say I was familiar with Mraz' work before this. I tend to lean my ear towards the rhythm when listening to music (something done with relish on any date on which Jones is playing). Mraz' playing- both the solos and the comping- are very, very melodic. Not only does he favor going up on the neck, but he's often doubling a melody or playing in closer relation the Hank than Elvin. There a couple moments when he even does it a bit much, but that's OK. In this sense, he's like a tamer version of Scott LaFaro (contrast this to the Ray Brown school of trio bass playing, where he's always rooted on the ground). Mraz' solo on Little Rascal on the Rock is particularly good (though I'm only half-way through the album. The title track is finishing up and it is beautiful).

I probably do most of my listening on the iPod because I use it at work. I ordered the Parker complete Savoy/Dial sessons (8 CDs). Those will be promptly poured into the iPod so that I can meditate upon Bird's genius constantly, no matter where I am, until I have dreams about Ornithology in the middle of the night... This is a great toy.

I still to this day am truly mystified at the venom spit at Rush in particular. - They had some corny lyrics Ok, yeah, some of them were pretty bad. I would submit that those were their early lyrics, when young kids tend to be precious and try to be too smart for their own good. That's part of the fun for some of us. More importantly, at least they tried to do something beyond the typical trying-to-fuck-an-underrage-girl or get-pissed-drunk lyrics of rock 'n' roll. I would also submit that as they got older and more mature, so did their music and lyrics. Frankly, I think all rock lyrics suck. I can cound on one hand the number of rock/pop songwriters who's lyrics I would consider worthy of attention. - Geddy's singing A matter of taste. Billie Holiday was very limited as a vocalist as well, but try criticising her on this board and you'd probably get crucified. Geddy hit the notes and, like it or not, as a distinct voice. I think he overdid it in his younger days, but after 2112 he started to take it down a notch and it became smoother and fit the music. - Neil's drumming Some of the technically obsessed drum students who don't know jazz get a little carried away, but that doesn't make him a "bad" drummer. Being a good musician is about doing what you need to do to play the music you want to play, and Neil is perfect. To say he has no swing is a daft criticism because they're not playing jazz. - They solo too much No they don't. Someone who says that obviously hasn't listened to the records. Does becoming a jazz fan mean you turn your nose up at rock music?

Almost all of the criticisms of the movie I see heare and elsewhere must be from people who haven't actually seen the film. At the end, during the narrated conclusion, Spurlock says- point blank- that the weight (pardon the pun) of responsbility is on the individual. That we can choose not to eat there. He points out their devious marketing schemes and such, but the spirit of the film is that we can change ourselves before changing the world. And as for "everyone knows it's bad for you"- well, not exactly. I mean everyone knows that Big Macs ain't health food, but few are truly cognisant of the fast food production and marketing techniques that pervades our lives, our kitchens, our schools. They don't know that the packaged good they buy are full of sugars or sodium. Yes, they can read the label, and should, but until relatively recently in our country's history, one could look reasonably conclude that iced tea was OK, not that it had as much sugar as a coke. Or that a salad would be healthier than a burger- not true at McDonald's where the dressing is like liquid McNuggets nutritionally. Or just exactly what crap public school kids eat, and why that is so. That is really the most serious thing in the movie. The food industry as a whole has changed and we need everything we can get, including this film, to make people aware of it.

Oh my God, I bought so much yesterday: Duke Ellington- The Ellington Suites Cassandra Wilson- New Moon Daughter (I think I'm falling in love with her... ) Vaughan Williams- A London Symphony SACD Raume- Concerts SACD The Great Jazz Trio- Autumn Leaves The Grateful Dead- American Beauty (fancy schmancy remastered CD thing w/ bonus tracks) Michael Gielin- Mahler's 8th symph, Schoeberg's Jacob's Ladder Jackie McLean- Right Now! And I have all this stuff I ordered...

Transition and Sun Ship are two albums that continue to fascinate me. The former is a glorious mess of ideas, like and open door into genius. The latter is considered pretty out there, and I guess it is, put I've always found it inviting in its own we and endlessly listenable, and I'm not one to normally go for the free/avant-garde stuff. Ascension is one to save to the end. It's impossibly dense and, to me, practically unlistenable. I just don't get it, but I keep it around in case I ever do. There's a two-disc set that compiles his longer works which has both versions of Ascension, Ohm, Kulu Se Mama, and others. I never listen to it. Crescent is not "out there" by any means. It's just a wonderful, well-balanced album. I consider it his first masterpiece on Impulse! Definitely get it. Africa/Brass is great if just for the title track alone. I agree about Ole- criminally forgotten. But the Atlantic material is another thing...

Oh my god, don't even get me started about the behavior in jazz clubs. I've been to rowdy metal concerts with better conduct. I find eating a cheeseburger during a set of music direspectful, gluttunous, and distracting. There is plenty of time and plenty of places to get dinner before or after the set. And I say this as a man who loves to eat. I only get drinks because there's usually a minimum. As for people talking- why would anybody even put up with that? I don't mind being the guy some table hates because I tell them to shut up. I didn't travel over and hour on the subway or pay over $30 for parking to hear some yenta yap about her dumb kids or shoes or whatever. The more concerts I attend, the more I'm convinced that most attendees are just there to do something cool. They couldn't care less about the music. Anyways, pardon the rant... The Saturday night 10pm set was pretty cool. If McLean and Grachan fought, you couldn't tell on the stage. McLean may not have the same mastery (most older horn players don't), but to me his playing was more about the ideas that he came up with while on stage. If he understands his limitations and still produce a compelling set, that is evolution as an artist in its own way, and I think that is true with him, at least from what I heard last night. Hutcherson was electrifying- showboated a bit, but a lot of fun. Most importantly, he played with genuine excitement and relish. The only thing I didn't like was the drummer's solo. Just a lot of crashing and banging.

Last time I googled it, it took me to a different home page or something and I only found the Django discography. Now I found the whole thing. Weird. I'm now reading the details of the Mobley and Jones sets and... yeah, I want them. Damnit. My music budget is already stretched...

While at the web site, I requested a catalog. Hopefully it will have more detailed info. A cursory glance around the forums bring my attention to Hank Mobley and JJ Johnson sets, as well as an upcoming Tyner set. I'll look at these closely. If I were to get one, these look like good candidates right now.

I just nabbed me the complete Dial & Savoy box off e-bay. I'm gonna savor those tracks slowly, like that really fancy kind of ice-cream... And then when I've thoroughly digested that, I'll get the Verve masters.

I'm not really looking for an entry point in his music per say. I have the Yardbird Suite collection which culls material from all the labels to make a comprehensive "best of," and "best of" Verve and a live disc. I'm just looking to expand them (and eventually replace them) into a broader collection of Bird. I basically intend to "study" his playing. Like many younger jazz listeners, I've come to Bird "backwards," listening to those he's influenced before actually listening to him. I want to do the same with Duke Ellington, actually.

Kenny Dorham- there's a cat I haven't listened to in a while. Una Mass, baby! I saw that 8 CD set on amazon just now- the brown thing with the binder-like spine. The Amazon reviews don't like the packaging. There's also a three-disc set of master takes for Savoy and Dial. Eeny meeny miny moe..

The sound quality thing is important to me, especially if I'm paying that kind of money. I'm glad to hear they use the right tapes and care about that stuff. I started discussing the alternate take issue on my other thread about the Parker sets. I do prefer them seperately, especially if it's an album. I definitely like to have the album together. JJ Johnson, eh? Interesting. I don't have any of his work as leader.

Ok, cool. I don't mind alt takes (and yes, I would actually be interested in hearing Bird's), but it really bothers me when they put them next to the masters. I suppose since Bird mostly put out singles, not LPs, it's not a big deal. Ideally, however, I would prefer all the masters seperately from the alts. I'll check out the Savoy and Dial sets, look for 'em on-line to get a feel for what they're about. Thanks!