ajf67

Thanks!

Thanks for the explanation of the recording of One Flight Up. I knew it sounded different, but didn't know why. It's one of the Blue Note's of Dexter's that I like the most (along with Our Man In Paris amd Go!). I may buy this. I have a one-sided deep groove New York copy of this that has unfortunate groove wear on side one that causes significant distortion in the horns Love the mono soundstage though.

Tonight has been: A new Gerry Mulligan LP on Crown Records (CLP 5411) I picked up today that has no info on it except the sidemen: Chet Baker, Chico Hamilton, Buddy Collette and Gerald Wiggins. Benny Carter The King Pablo, 1976 with Milt Jackson, Joe Pass and Tommy Flanagan. Nice stuff Barney Kessel: The Poll Winners Contemporary, 1957. With Shelly Manne and Ray Brown. These old Contemporaries really do sound fantastic. I think it waas Wolff who first pointed this out, and man are you right. Stephane Grappelli/Joe Pass/NHOP Tivoli Gardens, Copenhagen Pablo, 1979 THis one starts out with a swinging version of "It's Only a Paper Moon"

I picked up a Gerry Mulligan LP today and I'm curious if anyone here knows anything about it. Nothing on it is listed in any of my Penguin Guides or in the All Music guide. It's Crown Records CLP 5411. The cover just has "Gerry Mulligan" in big red letters over a drawing of him with the sidemen listed in smaller green type on the side. They are: Chet Baker, Chico Hamilton, Buddy Collette and Gerald Wiggins. There is no other info about dates or anything else on it. The tunes are: X-15 Joggin Criss Cross Gray Skies Gerald's Train Lights Out Knights of the Square Table I know from the Mulligan/Baker Mosaic that he played with Baker and Hamilton in 52 and 53 at least, but none of these tunes appear on the Mosaic. And given the presence of the piano the sound is different from most of the Mosaic set, which is almost all pianoless. Does anyone know the story behind this or Crown Records?

Tried to go to it, but needed a password to get past the "Asia Awaits" screen. I'm curious, but my overall first impression is

I've never seen one. Where did you see it?

Tonight is: Thelonious Monk Thelonious Himself Thelonious Monk It's Monk's Time

Any news on the T-Shirts?

Nice job! I've been helping my girlfriend fix up her house. She bought an old row house in the Columbia Heights section here in DC. It's actually been fun doing projects and spending time together. Our latest project -- which has been the least fun -- is stripping and re-painting the trim on the front of the house. There are about 7 or 8 layers (one is pink!) and even though it is all cracked and looks terrible, the paint will not come off. We have had to resort to one of those heating tools that melts the paint so we can scrape it. Tedious to say the least. Removing the old tile in the back room and replacing it with hardwood flooring is the next task.

If I remember right, that sounds like a good price for the Young, considering the E-Bay mania for Mosaics. I didn't bid, but I sure wanted to. I've bought too much lately though.

Glad it worked out for you. That's a highly sought after LP. I don't think I have any early Pepper originals, but I can imagine how good it must sound, as I have originals of lesser titles. All you need now is Rollins' Way Out West. Yeah, I'd love to have that one. I have an early copy of Tenor Madness, and it sounds great. The rest of my early Rollins is on CD in the Prestige box. There is (or was) a copy of Saxophone Collossus on E-Bay and I can't imagine what it will go for.

Tchaikovsky Concerto No. 1 in B Flat Minor w/ Van Cliburn. Nice sounding RCA Lp I picked up for $2 a while back. The stores around here practically give classical vinyl away.

Never heard this. Can you give some details? CLARK TERRY Duke with a Difference OJCCD-229-2 (Riverside 1108) ~ $11.98 (CASS ~ OJC-229-4 ~ $7.98) (LP ~ OJC-229 ~ $9.98) Clark Terry's series of late-Fifties Riverside albums covered a very wide range (on one he shared honors with a tuba player; another featured Thelonious Monk), but Duke with a Difference may have been the most unusual. On this occasion he gathered together a number of major artists--notably including Johnny Hodges, Paul Gonsalves, and Billy Strayhorn--who had been his colleagues for years in the Ellington orchestra, and enabled them to fulfill a mutual fantasy by performing a repertoire of some of the Duke's distinguished standards (among them "Mood Indigo," "Take the 'A' Train," and "C Jam Blues") in a deliberately non-Ellington vein. C-Jam Blues, In a Sentimental Mood, Cotton Tail, Just Squeeze Me (But Don't Tease Me), Mood Indigo, Take the "A" Train, In a Mellow Tone, Come Sunday with Johnny Hodges, Paul Gonsalves, Britt Woodman, Quentin Jackson, Billy Strayhorn, Tyree Glenn, Jimmy Woode, Sam Woodyard Thanks!

Purchased today in a record store in Old Town Alexandria: Shirley Scott Blue Seven green label Prestige $7 Elmo Hope The Elmo Hope memorial Album Green label Prestige $7 Art Pepper One September Afternoon Galaxy $8 My favorite of the day (and maybe my now-favorite piece of vinyl). Not really a "Great Find" but more accurately an "Expensive Find": Art Pepper Meets The Rythm Section Original deep groove mono Contemporary. Looks and plays NM, the jacket is VG, with a "Demonstration Copy" stamp (front and back, also on the LP label), some very slight age fading (no ringwear) and a small crease in the corner of the backside of the cover. All the seams are intact though. I paid $99 for it. The sound is unbelieveable. I don't think I will play the CD of this ever again.

Nothing on the website says who he is playing with. It's just "Gary Bartz Quartet."

Never heard this. Can you give some details?

At Blues Alley Friday and Saturday. I don't like that venue so much -- high prices and the last few shows I've seen (McCoy Tyner, Bud Shank and Joshua Redman) had problematic amplified sound. But I'd like to hear Bartz. I think my girlfriend and I will go to the early friday set if we go.

I find myself retruning to the her Decca recordings most often. My favorite is side 2 of The Lady Sings. Good Morning Heartache (maybe my favorite Billie song) No More No Good Man I'll Look Around Easy Living What is This THing Called Love Great excuse to put it on!

Yep. And as heavy as these things are, they won't have any fun carrying them out of my place. Since various friends each want them, I guess I'll have to have a will or something...

I think you nailed it. I waited to get this box until it hit the running low list. I regret that, as it has become one of my favorite Mosaics.

Oh man, I just about choked laughing at this. I think I'm fully recovered, but it took a while. That is HILARIOUS.

Last night was disc 3 of the Turrentine set (which rocks) and tonight are discs 4 and 5.

Like Oscar Wilde said, "I can resist anything except temptation!"

I'm curious as to what you suggest they do since they are "ignoring the situation." What's wrong with stuff going into the public domain? Would you rather the record companies convince Congress to extend copyrights for another 100 years? What good would that do? Forgive me in advance for writing this, because others have been saying this too, so it will be stuff many of you have heard before. But.... I don't think the problem lies with the music itself going into the public domain. That can be good because (in theory at least) it can become more available and not "owned" by any one entity. Perhaps we then will not have to wait for things to be re-issued (or never issued) by the original copyright holder. But, the problem that I see is that having things go into the public domain eliminates corporations from having economic incentives to protect the original recordings. Right now, Blue Note, Fantasy, Columbia and others all have an economic incentive to properly store the master tapes to the classic albums we all love. Since they will no longer own the right to make $$$ off of these after the music goes into the public domain, and since there will be tons of digital copies widely available for people to make copies from, the original tapes will not hold any significant value. I don't know the solution, but I think we need to be open to ideas. Put them in the Smithsonian for all I care. Add me to the list of people who firmly believe that original tapes matter. I'm not an engineer, so I'll leave that to others on the board who have expressed the audio science far better than I can. I just know what I hear, and the comparison between even re-issued Lps and the CDs of the same material make me want to do all I can to preserve the original recordings.

Yeah, once the music is in the public domain the monetary value for them will be about nil. My thought on the national archive idea was that it be a private organization funded by a foundation that rich guys like Allen could donate to. I don't think it needs to be the government's job to do it, although the Smithsonian might be a good place too. Something needs to be done.