B. Clugston

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Posts posted by B. Clugston

  1. On 5/15/2008 at 2:31 PM, Chuck Nessa said:

    With one exception (first pressing of n-2 - pressed at Chess) I made my records at Wakefield Mfg until 1978 when I made a distribution deal with Flying Fish records. They shifted pressing to their preferred plant and printed the teal/white labels. Pressings were ok for a while but they really messed up a new release and I insisted they press my issues at Wakefield. They complied and after the contract expired I continued to press there.

    I have a "blue/white" copy of Lester Bowie's Numbers 1 & 2 from that era with an oddity on Side 2. There's a pause following take 6 of "Number 2" followed by a reference or audio tone before the blowout from take 7 begins. I also have an earlier pressing (green top, pink/orange label, Madison address) where the transition runs smoothly.

  2. 7 hours ago, Chuck Nessa said:

    Today is the official release date for Nick and Tomeka's Signaling.

    Also of note, the City of Chicago has disclosed the Pritzker Pavilion headliners for the 2017 Chicago Jazz Festival. Of particular interest to the label is the opening program on Sunday Sept. 3.


    Congrats Chuck! That's very exciting!


  3. 13 hours ago, ghost of miles said:

    I pulled out Lawrence Brown's Slide Trombone the other day and found myself marveling all over again at what a great series Verve Elite was--maybe my favorite, in fact.  What series, either on CD or vinyl, has really stood out for you?  (Hep, Mosaic Singles, RVG, the 1970s Blue Note two-fers, etc.)

    The late 90s were a golden age for CD reissues and the Verve Elites were the pinnacle. While not technically series, both Impulse and Columbia had a nice run of reissues of interesting titles (I'm thinking the Shepp and the live Rivers on Impulse and Giuffre's Free Fall, etc on Columbia) for a brief period before the major labels started to cheap out again.

  4. 1 hour ago, Homefromtheforest said:

    Yes they were all isolated spots of clicks and noise; in my opinion a $40+ new record geared towards audiophiles should be perfect!  Unfortunately part of the problem is the over saturated vinyl market and the swamped pressing plants trying to keep up with orders.  That said; the 14 or so MM 33rpms that I do own sound amazing and really are the best choice for those who can't afford originals (Japanese Kings are close though).  They lack the excitement and punch of the originals and seem rolled off a bit on the high end, but they do have a rich, full and smooth sound.  

    Too bad about the recent ridiculous price fluctuations on the remaining MM 33rpm stock.

    I had a dud I had to return too. Robert Hutton goes off on Music Matters here: http://robertmusic.blogspot.ca/2016/03/why-you-wont-see-music-matters-blue.html I agree with you about the sound and I'm very happy with the titles I do have. I think Out to Lunch and Soul Station in particular sound terrific.

  5. On 12/9/2016 at 3:25 PM, Peter Friedman said:

    This 4 CD set has one set that strikes me as out of character. The Barry Harris set has Barry playing with musicians who play in a style very different than  one can find on any of his other numerous sessions as leader or sideman. Don Cherry, Steve Lacy, and Roswell Rudd are not musicians Barry has ever recorded with, and is unlikely to have played with on gigs.


    Barry Harris is just great on this one. There are at least a few familiar faces for him (Rouse, Davis), but everyone (except for Don Cherry, who should have been given the hook) is united in Monk and Harris fits right in with Lacy and Rudd.

  6. Another fine example of an out of character recording is Albert Ayler's New Grass.

    On 12/5/2016 at 11:08 AM, Big Beat Steve said:

    From the moment I saw this thread I thought of this particular record but was not sure if recordings made under pseudonyms would qualify too.

    However, (as so often) Discogs is incredibly superficial. This recording has MANY more artists for whom this might have been "out of character":

    In addition to Shorty Rogers, the Boots Brown group had Bud Shank, Dave Pell, Jimmy Giuffre, Bob Cooper, Frank Patchen, Howard Rumsey and Shelly Manne in one line-up and Milt Bernhart, Bud Shank, Gerry Mulligan, Marty Paich, Jimmy Wyble, Howard Rumsey and Roy Harte in the other.


    That Boots Brown date with Giuffre is a gas!

  7. Bill Evans and George Russell's Living Time. Nothing odd about it from a Russell perspective, but hearing Evans buried by a big band featuring the likes of Sam Rivers and Tony Williams is a definite oddity.

  8. That was a great blindfold test Clifford--lots of names new to me to check out. I especially dug the Karel Krautgartner, Thomas-Pelzer and Soulbrass cuts.The Philly Joe track was a nice stumper.

  9. Interesting news on Resonance in this interview:

    "Since then, Feldman has been vetting literally hundreds of historical recordings—mostly for Resonance, where he’s executive vice-president and general manager. Next up for release? A long-lost 1959 studio date by none other than Thelonious Monk.

    He’s also been handed the keys to the Radio France archives, and has dibs on a greater treasure than the fabled Ark of the Covenant: 12 hours of music by the artist many consider the best saxophonist of all time. Feldman’s not quite ready to name names, so let’s just say that any jazz fan would consider their release a giant step for humanity."


  10. RIP. That bass line on "The Sidewinder" is what most people remember, but he did a lot great work elsewhere.

    2 hours ago, Chuck Nessa said:

    First, I remember his smile. Not sure why.

    Me too. When I saw him with Sonny, he had this big grin the entire time. Seemed like a really nice guy based on interviews I've seen of him.


  11. Track 6 is a Steve Lacy composition called "Bone," but I haven't a clue who the musicians are. I agree the bass is great on that one. Stumped on the others too, but am really enjoying every track. Track 2 in particular is great--the clarinet player sounds like Buddy DeFranco meets Philip Rehfeldt.