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About lipi

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  1. Awww, c'mon. You don't need our help for that. More seriously: you can do a Google image search on the picture, and it will correctly identify it for you.
  2. Different scene. The "electroswing" nonsense came out of EDM and the house world, as far as I can tell. Every serious lindy hopper (swing dancer) that I've talked to hates the stuff--it doesn't swing. (Trev, care to chime in? Maybe you disagree.)
  3. Ah, you're confusing neo swing (the rock-infused attempt at jump blues that fueled the late 90's mainstream interest in swing) with the continued lindy hop scene, which is still very much alive and kicking and frowns upon the musical taste of its teenage years. I'm not sure whether you're missing out, but chances are if you tell us where-ish in the US you live, we can point you to a weekly dance to go check out, and possibly several. Some have bands, though the greater part use DJ'ed music.
  4. PM sent on the last four.
  5. Savory Collection volume 4

    As Ubu pointed out in the previous thread:
  6. Yeah, but what if you remove that post? Better to have someone else mention it...
  7. Re: more control: that's actually an excellent example of the kind of possible misunderstanding I was thinking of when I pointed out that one must truly understand new technology to be able to usefully critique it. I suspect you are mixing issues of DRM and Cloud storage into the more basic difference between CD and download media. A non-DRM-ed download saved on a local disk is just(*) as owned as a CD. It is not controlled by the seller anymore. ((*) It is (currently, in the USA) not re-sellable, so if that's your concern, it is valid. The first-sale doctrine does not apply to digital goods. See Capitol v. ReDigi, 2013.) Re: new not always meaning best: by the same token, old has not always meant best, either. I am not arguing that downloads are better than CD's (regardless of what I may personally believe). I am arguing that most of the arguments given against them in this thread have been baloney. An analogy to annoy and elucidate: to debate landline-vs-cell-phone, one must understand both sides. If you've never used a cell phone, or if the only cell phone you've used is the Motorola suitcase of the late 80's, then you will be unable to provide a whole lot of useful input. (Generic "you".) Re: ALAC: Hah! Guilty as charged? I jumped on ALAC because FLAC support was poor on the Mac at the time, and now I'm happily ensconced in ALAC. The list was obviously not meant to be exhaustive. WMA? AIFF? (Ogg) Vorbis? (Cue discussion about the difference between an encoding and a file format.)
  8. Cuscuna's argument makes no sense--it didn't make sense ten pages ago (or was it in the deleted thread?), and it does not make sense now. "The majors will never give us rights to downloads. It's their feeling that they can take a Mosaic set and dump the CDs into iTunes and put up the downloads for themselves. As long as they don't use the Mosaic name or box it like the Mosaic, they can do whatever they want—it's their material." There is no difference between Mosaic's creating a CD set and Mosaic's creating a downloadable set when it comes to the label's being able to take it all and dump it into iTunes/Amazon/Bandcamp/... after. The same mechanism that protects the label's interests right now (limited number of sales and limited time of sale) can be used for downloadable content. If the labels had any plans to release their back catalogue digitally imminently, then they'd have a reason to not grant the rights to a third party like Mosaic, but absolutely nothing points in that direction. My, incredibly negative, outlook on it all is that Mosaic is, sadly, stuck in the 20th century, and that the people running it are as out of touch with modern technology as the major labels were five years ago (or perhaps still are?), and as most of the people posting on this board seem to be. (And that's totally OK! We don't all have to jump on the new bandwagon. It's OK to prefer vinyl, or CD's, or weird high-fidelity cables made of moonrock. It's OK to not quite know (or care about) the difference between MP3, AAC, ALAC, and WAV. But it's shortsighted to complain that the old ways are no longer working without fully understanding the new. In other words: I don't think any of this is really a business problem: it's a technology/generational one. Here's hoping I didn't just start a massive flame war. I love you all, you're all dear to me, <3, etc. etc.)
  9. Jazz musicians in crossword puzzles

    Spoiler: KING? I'm sure there are some others here who'd have no problem with the answer, but it does seem awfully out of the ordinary. It's not even an uncommon combination of four letters that it's hard to make a clue for... Is the L.A. Times Sunday puzzle that difficult?! (Highlight to see--it's white type on white background.)
  10. Nah, that's what Eefers, Eb clarinets, are for. Aside: though almost all soprano saxes are indeed in B-flat, there are C soprano saxes, too (one octave above the C-melody (tenor) sax). They're not common, but they exist.
  11. Would love that ragtime set. Isn't the Frémeaux complete for early Armstrong? What's missing?
  12. Well, I should have looked at the Wikipedia article for "Basin Street Blues", because it has an image of the 1931 Charleston Chasers record! It also heavily implies that the 1928 Armstrong recording is the first one, but I'm at a loss as to how to confirm that. :/ Maybe someone with a subscription to Lord's discography can do an exhaustive search on "basin"? Yes, the melody on the verse is new, as far as I can tell. It does not appear on the 1928 or 1929 recordings, nor on the 1931 Cab Calloway one.
  13. Teagarden claims that it was Red Nichols who asked Miller and him to write an arrangement on the (then lyric-less) tune. It's in the spoken bit at the end of the track preceding "Basin Street Blues" on "A Hundred Years from Today: Live at the Monterey Jazz Festival, 1963". The only date he gives as reference is 1927 ("joined the Benny Pollack band, it was about 1927"), but it's not clear how much time later the BSB arrangement came to be. He does mumble something about "our next recording session, which happened to be *mumble*mumble*I'm*so*Texas*cool*". It sounds like "Charleston taster record", but I don't know what to make of it. The earliest recording *I* have is Armstrong's 1928, which has a scat/hum lyric. The next one I have is the Louisiana Rhythm Kings (a Red Nichols group) one from 1929 with Teagarden singing a clearly improvised lyric, and not the lyric we know. Calloway scats his way through it in 1931, and Armstrong does the same again in 1933. The first recordings I have with the standard lyrics are from 1934: Joe Venuti with Louis Prima singing, and the Dorsey Brothers with Bob Crosby singing. So my, fairly half-assed, guess is that the lyric was written and first recorded in 1933 or 1934, by a group under the leadership of Red Nichols. Some casual leafing through a discography or two didn't bring me any closer, but I'm curious now, so maybe I'll dive in deeper this weekend. Edit: I just listened to the Louisiana Rhythm Kings one again, and that lyric is so dreadful it should have immediately prompted a request from Nichols for a new one... AHA, found it. "Charleston Chasers"--I'd forgotten about that particular name used by the Five Pennies on Columbia. If Teagarden's story is accurate, then this is the first recorded instance of the lyrics. New York, 1931-Feb-09, "The Charleston Chasers":
  14. [jazz nerd mode engaged] Milburn recorded it as "One Scotch, One Bourbon, One Beer". The permutation of the drinks is due to John Lee Hooker. [back to normal] Also, someone should buy this, because it's great.
  15. Analyst: Target should drop CDs

    Some are, yes. They do get throttled (i.e., they slow down the data rate, they don't cut you off) after a certain amount of data, but that amount is usually so huge that it won't be an issue for streaming music in your car--even if you do it every day on your two hour commute.