jazzbo

I like the Tempo reissues from Jasmine; the Reece appearances are surely among the best. It's to my ears not quite the music that is on Blue Note as far as quality of writing and performance BUT quite good, rawer in a way, definitely worth hearing. Sound quality is decent. . . great for this material, which was not optimally recorded. Notes are okay, about the way that Blue Note notes are okay. . . I don't buy Blue Notes for the LINERS. -_-

I can understand that I guess. I've been buying this music since the seventies, and I've had many versions of much of the RCA set, but the RCA set sounds fantastic, has it all under one roof, and was a nice centennial tribute. Likewise, I've bought the best versions of the Brunswick, Vocalian, Okeh, Harmony, etc. material because. . . I LOVE THIS MUSIC! It has traveled with me on my jazz journey for some time, and I want it at its best. There is little else like it!

First off, Sun Ra was very strange, but NOT into drugs; I don't believe he would have tolerated acid around this film, certainly not in his musical family, and I don't think even in the film producers and workers. Drugs were not allowed around him as far as I can tell. It is bizaare though, reflecting Ra's bizaare religious/philosophical beliefs FULLY. And it also represents a lot of the blaxploitation film features, as well as being a bit of an homage and a bit of a sendoff of the "B" sci-fi films of the fifties and sixties as well. This is a nice dvd Late, I think you'll enjoy seeing it. Nice interview with the producer and director, and some fascinating bits of Ra "home movies" as a bonus feature as well.

I love the RCA box. . . I'm so glad I have it! Different strokes for different folks!

There are two sessions I've found recorded on the day I was born. One is the Hank Jones Trio on Savoy, wow, Hank, Wendell and Kenny playing in Hackensack the afternoon I was born! The other is a Chico Hamilton live date in California that is on the Mosaic set. Chico and Kenny both playing away and recorded on the day that I was born. I was born at the right time!

I haven't sat down with this disk in a long time. I really concentrated on the Blue Note period for a while, then shifted to the Verve period while also collecting the European material, and I've been mostly listening to the European material the last few years. I've come to the conclusion that ALL Bud is worth hearing and having. The emotional expression in the music is really communicative to me; I truly enjoy listening to the swing and the flow and the ideas and the feelings they invoke. I no longer idolize one period or another. There is gold in all the veins, you have to mine it for a while. Once you get a hand hold on the gold within you can identify it and enjoy it from within his entire timeline. The really interesting period for me of late is the last years, the drama in the music is intense, the sweep of the runs and the power of the touch. . . . It's not always focused, but then Bud can take you along with him in his wandering and you learn from the trip. Within this volume Reets and I and Glass Enclosure have the goods for me!

PM me if you get a negative result from that email. As for the ethics of these things. . . I think that cdr trees of material from artists out there touring etc. is probably a little beyond the ethical event horizon. . . . I may be a bad person, but I don't feel unethical being involved in Miles Davis trees. . . I've bought Miles material over anve over and over in format and veresion one after another, and I'll buy this material "legitimately" when I can. . . I'd LOVE to.

Thanks for posting that link! Poor PKD! He sells a story for less than a couple hundred dollars. . . and fifty years later a movie is made that nets the estate a cool two million. He truly was ahead of his time and that he spent most of his life in poverty is quite sad and disheartening.

I think the fact that a number of sets are in the hands of retailers may have meant that the set ended this early, earlier than one might expect if it had been just sold through Mosaic. I've seen these in a lot of stores in the last few years; I think because it was Ellington and its release was near enough centennial time that a lot of retailers ordered copies. I'm uncertain that Mosaic WOULD sell you a set if you called; when it's over it's over is my impression.BUT there's a really good chance that one could find a set at a retail outlet at a price that was perhaps even lower than that through Mosaic. They're out there. . . I can sense them.

This particular twelve cd tree has been closed for some time; since then they opened a 1960 Miles/Coltrane tree which has closed, and have planned a 1980s tree for the spring. Your best bet to get a copy of the tree at this time would be to approach someone who has it with a trading or blank and postage etc. proposition. . . .

Alexander, that tree is long gone. . . it's been over for some time now. There are however more trees to come, and here's the home page: www.miles-trees.org

The Space is the Place dvd is. . .well. . .is there anything else quite like it? I have been told that the Cry of Jazz video was very short and not a lot of Ra really in it. . . . Will be eager to hear a review!

I can't remember for certain, but it is either "Early Stan," "Preservation" or both. . . .

From the Mecca website, NOT up to date: Lou is considered a contemporary artist and when he plays the guitar, it is as though Lou and the instrument are one. Warm rich tones are what most jazz artists strive for, Lou holds that thought. Selected by the Canadian Broadcasting Corporation (CBC) as outstanding Jazz Guitarist. Voted a "NEW STAR" in the Guitar Category in the Downbeat critics Poll. Recognized by Leonard Feather as a brilliant new guitarist heard on Blue Note Records. Illustrated in the "Encyclopedia Yearbook of Jazz" and "History of Jazz" written by Leonard Feather, and also illustrated in "The Jazz Guitar Book", in the third and fourth editions, by Maurice J. Summerfield, UK. Performed at the 1st "Newport Jazz Festival" with the Gil Melle Quartet, and at Town Hall, N.Y.C., also performed at Gullivers, Trumpets and the Cafe D'Angelico, and various Jazz Clubs in N.J., N.Y., Canada, FL, PA, RI, and throughout the country. Worked with such outstanding artists as Ella Fitzgerald, Bill Evans, Teddy Charles, Eddie Costa, Al Cohn, Chris Conners, Archie Blyer's Orchestra, accompanist for Julius La Rosa, Stan Purdy, accompanist for "The Unsinkable Molly Brown Show", performed with the Ron Metcalf Orchestra, at the Worlds Fair in N.Y., Vincent Lopez Orchestra, John Lewis, Maxzine Sullivan, Rex Stewart, Vinnie Burke, Gary Mazzaroppi, Jack Six, Al Caiola and many other great musicians and singers. Lou Mecca, Al Caiola, Bob Paterson, showing Jason Cook (student) some new ideas at the Orlando, FL Guitar Workshop Lou spent many hours jamming with the great Guitarist, Johnny Smith. Lou developed the first Guitar Department at Fairleigh Dickinson University, Rutherford, N.J. Campus, where he held a position as Adjunct Professor of Guitar for seven years. Lou is scheduled to do several guitar workshops at area music stores also scheduled to perform in concerts , festivals in N.Y.,N.J.,FL and Europe in the upcoming months. Contributing consultant to "Just Jazz Guitar" Magazine. Lou went to the Chiropractic Institute of New York for six years in the evening to become a Chiropractic Physician while teaching students in the daytime and performing at various clubs and private functions. Lou graduated and for the next 25 years he worked hard as a Chiropractor in New Jersey. Lou continued to play, but as his practice grew there was less time for Lou to perform. Lou Mecca retired from his practice and moved to the New Jersey Shore. After a sabbatical in Fl, where he started to perform again at concerts and festivals. Lou moved back to the New Jersey Shore and after a slow start Lou is back in full swing. and is looking forward to another career in his first love, music. Lou can be found playing at various venues in N.J.and N.Y. area, he performs with a duo, trio, quartet and sometimes a quintet.

Yeah, that has kept me from selling a lot of my Mosaics in the past, which is probably a good thing; the oldest ones (boxes only) are behind there! I'm not necessarily starting the excavation!

Argh! Yeah, I forgot about that. Damn.

yes, nowadays all the material is available on cd I believe. There is this Definitive, there is the Getz Roost and Roulette box set from Blue Note (which actually contains more live material in better sound than the Mosaic) . . . . I'd offer to sell you my Mosaic set if I could reach the box! (It's buried deep between a book case and a wall with a dresser in front of it with hundreds of pounds of magazines and books and cds and records within and on top of it).

It's a very cool cd!

Feelin' the Spirit. It's great, no matter what remastering; you should have it!

www.am-dig.com has them: http://www.american-digital.com/prodsite/p...ase-ClearSingle

I had that Fontanna original cd and played it to death; it's great, I love the whole thing. The one I have does sound better, so keep an eye out! Yeah, I've been digging a lot of Sun Ra lately . . . I'm getting into the seventies material more than I had before, though I still dig the Chicago and early NYC period the most. But . . . as these things go in my listening history, that could change!

Hmmm not sure what that one is. I have UCCM-9065 from Japan, I think 2002. Packaging is as an lp facimile of a 16 track lp, second side was six unissued tracks. The cd however is 26 track long.

I played a Simmons kit for several years in rock and blues-rock bands here in town. During this time I couldn't afford two good kits, so I sold a funky old cheapo acoustic kit to help buy it, and it was all I had til later when I bought a Sonor set up. I actually enjoyed it; learning to play was a trip and an education, and set up for gigs was so easy. Also when the guitarist would get too loud, I would roll the volume control and goose his ass, and he'd calm down. THAT came in very handy. I ran a Gallien Kruger guitar amp AND a Sunn bass amp. I was not generally loud at all, but the sound was rich. Generally I used blasticks, because the heads on this Simmons could make your writst ache hard if you pretended they were regular Ambassador heads with spring back! And with time I learned how to hit the head to get dynamics from the system. It wasn't cheap, but it was troublefree for years, and a joy for recording: you could record directly into a tape deck in stereo, or record from mikes, or a combination of both!

That's wild. I haven't grabbed the latest yet, but I've loved the two preceding a lot, and I would have expected (and may have experienced) a better show. Her music isn't traditionally jazzy on the surface, but. . . to me on the recordings at least it is really there. She's got a lot deeper shiz going on than some of these other newbie jazz singers. . . she's paid the dues and she has the smarts.

It's definitely there: Spooky Drums No. 1 AND Spooky Drums No. 2.