This is clearly (from the price) not a top range item(!) however I think I got value for money and a snare drum that will be OK to practise on. The stand was not included in the original package but was delivered reasonably promptly when I inquired.

I already play a bit of violin & can read music well, so when I came across this item in a music shop at a reduced price (almost remaindered) I bought it, guessing that it would probably be as bad as the other reviews say, but just finding it useful to have a few backings on CD to play along with and it is OK for that but if you're a beginner, don't even think about it - it really is as awful as people say.

The trackball arrived promptly even though I'd selected the Free Delivery option & was effortlessly working on my XP desktop system within a few minutes of getting the package in my hands. I have long been a fan of the Microsoft trackball & never have understood why they discontinued it, even buying the odd one second hand at extortionate price, so I am pleased to have a new new similar device available. I like trackballs for two reasons: firstly they are less tiring to use & reduce the likelihood of RSI and secondly from time to time I have to work with my laptop in restricted places such as on cafe tables and this gadget needs only its own footprint and no more.

If you are already trying to play pieces above 4th position or starting to use thumb position this book will give you a comprehensive method both for practising in various different thumb positions and shifting into them. Actually there are more than 100 exercises (mostly one or two lines long each) and you are invited to transpose them, which may seem daunting at first but is a great way of increasing fluency. You will need to be reasonably comfortable with tenor and treble clef (or willing to get down and learn them).

This is a really well thought out book for improving adult and near-adult players who've been going a few years and already read music reasonably fluently. All of the short (one or two lines) and varied exercises are useful. It is not a method in itself but would complement most methods at the stage when the student is ready to explore beyond 1st/4th position pieces. It is not suitable for younger beginners.

As an occasional trombonist I was glad to purchase a fully functional independent two-valve bass trombone (Bb F D Gb) at a ridiculous price (about one tenth the cost of a full professional machine). Although the valve levers were in really awkward positions, which required a visit to the repair shop (& cost me about 36 quid) I still give this hooter full marks.

I have this book, it's fine and yes it did come with the piano accompaniment. A good and varied selection of pieces from several centuries matched in level. I've always found Amazon to be prompt with replacing faulty items (I had an mp3 player replaced free of charge after it broke down when I'd had it only 3 weeks)

I've been listening to the original version of this material most of my life (40-odd years of it anyway) and it has made a profound impression on me as a composer/arranger. I'm also a great fan of Mulligan both as a writer and player (indeed, listening to him prompted me to take up baritone myself). So I was very interested to hear that he'd made this re-recording and I can absolutely understand why he would want to. The CD has just arrived and I've only listened to it once, so these are my first impressions.

The recording quality is generally much clearer than the '49 recordings of course; I heard many things that are lost or partially obscured on the originals, some of the ride cymbal, bass lines, etc, though the mix of the front line instruments is uneven and I found it hard to make out horn, trombone and tuba much of the time. The tuning between trumpet and alto sax is a bit off here and there when they play unison phrases and the ensemble is not always rock steady from a rhythmic point of view, which caused me to reflect how much time this group spent in rehearsal as compared to the original musicians.

It was also good to hear some fresh improvisations (and I tried hard not to be attached to the original ones, which are burned into my memory!) especially Mulligan taking a new approach to his own solos. I've never rated John Lewis much as a pianist and I think this shows on this recording where he plays on all the tracks not just the few he did on the original recording - to be honest, it sound like he just doesn't have the "chops", especially on the faster numbers.

I'm glad Mulligan took the trouble to do this album and I'm glad I bought it and have heard it but somehow I don't think I will be playing it that often...

This is a convenient mute used by many musicians and changes the instrument's tone in a useful way but it is not nearly heavy enough to be a practice mute.

Yes, I tried to read this - 2nd time around (I tried reading it maybe 30 years ago) and couldn't finish it any more now than then. It may have immense literary merits (just covering myself for people who think DL is a genius) but she can't write Science Fiction for toffee. I managed Joyce's "Ulysses" and quite a bit of "Finnegan's Wake" but this just makes me drop off as it's about as interesting as a Civil Service report (which is kind of what it's intended to be...)