Shrdlu

A 4th or more?? That is beyond ridiculous! By the way, pitch can be corrected on my Pioneer CDJ CD decks. You stick in the CD, disconnect the "pitch lock", and move the speed slider up or down as required, to get the correct pitch, and record the output onto a CDr. This changes the speed of the music, of course. But you can change the speed to anything you want by putting the CDr you just recorded into the machine with the pitch lock enabled. That keeps the pitch fixed while the speed is changed. Once again, you record the output onto a CDr. This two-step process is a bit tedious, but it will work. I have never done it, though. I seem to remember reading that when old 78s were transferred to LP, the speeds were sometimes checked and corrected. 78s were often notoriously out-of-tune, sometimes because of the 60 cycles AC in North America and 50 cycles in other countries, including Britain and Europe. Also, because of gaps in the armatures of an electric phonographs, it was hard to get the speed right. Of course, you could vary the speed on a windup phonograph. I used one of those to play my Dad's 78s when I was an infant. Early exposure to Fats Waller, Billie Holiday, Jack Teagarden and many others. My original Android phone back then was windup, too.

Stanley Turrentine recorded four sessions in 1967 backed by a medium-size group arranged by Duke Pearson. The dates are February 17, June 9, June 23 and July 28. There is some excellent playing and arranging on these and they are well worth a listen. I won't clutter up this site with the listings: they can easily be seen on the Blue Note discography site. The purpose of this post is to recommend the music, and to suggest the easiest way to get it on CDs. The bands include the usual suspects from the New York City area (Jerry Dodgion, Pepper Adams etc.) and have a nice sound. The arrangements are much more than functional, and have tone colors such as flute and bass clarinet, rather than the bog standard four trumpets, four trombones, five saxophones and rhythm section. Stanley is very comfortable and blows many fine choruses. None of this music was issued upfront, no doubt because of Alfred Lion's retirement that year. The first appearance of any of it was on a 2 LP set that Duke Pearson put out in 1975. It has some (but not all) of the material from the February 17 and June 23 sessions, jumbled together. I have a Rice Krispie copy of that set (optimistically described by the seller as "VG+"). For me, this is not satisfactory, especially because I like to hear tracks in session order. Here is the best way I can think of to get the material on CD. All but three items are obtainable. February 17: Get "New Time Shuffle", Blue Note (J) TOCJ-50277, (2012) ,or the U.S. CD "A Bluish Bag", Blue Note 0946 3 85193 2 4 (2007). These both have everything. Better sound on the Japanese CD, which also has all the June 23 items. June 9: For this, get the U.S. CD "A Bluish Bag", Blue Note 0946 3 85193 2 4 (2007), which has all tracks except the last one, which is described as "rejected" and is unissued. June 23: Get "New Time Shuffle", Blue Note (J) TOCJ-50277, (2012) , or the U.S. CD "Return Of The Prodigal Son", Blue Note 50999 5 17462 2 3 (2008). Both of these have everything. "Return Of The Prodigal Son" and "Ain't No Mountain High Enough" are on the U.S. CD "Easy! Stanley Turrentine Plays The Pop Hits", Blue Note 7243 4 93991 2 9 (1998). July 28: The present online listing of this is incomplete, and I have emailed them the missing details. "The Look Of Love", "You Want Me To Stop Loving You" and both takes of "Dr Feelgood" are on the U.S. CD "Return Of The Prodigal Son", Blue Note 50999 5 17462 2 3 (2008). "You Want Me To Stop Loving You is on the U.S. CD "The Lost Grooves", Blue Note 7243 8 31883 2 1 (1995). "The Look Of Love" is on the U.S. CD "Easy! Stanley Turrentine Plays The Pop Hits", Blue Note 7243 4 93991 2 9 (1998). The only appearance of "A Foggy Day" is on the U.S. CD "Easy Walker", Blue Note 7243 8 29908 2 6 (1997), as a stray track from the session. "Up, Up And Away" and "Georgy Girl" both remain unissued. Phew! It's kind of a mess. I hope the details don't give anyone a headache. I made custom CDrs of these four sessions so that I can listen to them in an organised fashion. I think my favorite session is the first one, with its three bossa nova items and regular jazz. It would have made a nice LP back in the day.

Pitch is often off on Youtube jazz items. I am told that this is to prevent the algorithm detecting unauthorized postings, but I don't know. Most people know that Side 1 of the original "Kind Of Blue" LP plays a quarter tone sharp because the tape recorder used to record was running slow and the LP was mastered with a tape player that played at the correct speed. I remember, as a young man, having trouble playing along with it. It was later found that a second tape recorder, running at the correct speed, was used, and CD reissues used that tape and were at concert pitch. This error was inexcusable for a major company such as Columbia. They also issued Miles's "Green Dolphin Street" session in mono at first (fair enough), but in the 1960s, they put out a would-be stereo LP with fake stereo! It sounded awful. At the time, the original mono LP was out-of-print, and I was glad to find a mono copy on a visit to Paris, France. Then, years later, in the CD era, it turned out that the session had been recorded in stereo! Of course it was, because Rudy van Gelder began to record in stereo in the spring of 1957. A major company would have the latest equipment. Then, we found out that the "Miles Ahead" sessions of the pervious year (1957) exists almost entirely in stereo, as does Brubeck's 1957 "Dave Digs Disney". What a sloppy performance by Columbia. Getting back to pitch, I have had Bird's Dial material since the late 60s, but I was recently playing a CD copy of "Relaxing At Camarillo", and it was in B. The tune was played in C, of course. No way they would play in in B! The famous 1957 video of Lady Day with Pres doing "Fine And Mellow" is at the wrong speed and sounds in E! Obviously, they wouldn't have played it in that key, so which was it, Eb of F? The answer comes from Gerry Mulligan's solo. He plays the third note of the key in the high register and you can see that he's playing the baritone saxophone's top E (concert G), so the key must be Eb. One conclusion of this is not to trust the pitch of online music and videos. I hope that official CD reissues check the pitch.

For several years, I have successfully used Switch Sound File Converter to change audio formats. It is free. It will do up to five tracks at a time. The existence of so many different file types is a pain. WAV and CDA are easy to work with, and (don't tell anyone) I find that 320 mp3 sounds good, too. Nero won't accept FLAC. FLAC is a nuisance: it is said to sound great, but what good is that when it won't play on any program on my computer? This reminds me of an SACD disk of "Blue Trane" which I bought because it has an extra take of the title track. The sound on that was so good that I was unable to hear it! I eventually hacked the music, but I forget how I did it. It wasn't a pirate disk and I was annoyed that it wouldn't play. They should have issued the music on a 24 bit CD. Flanders and Swann sang a song called "High Fidelity". "All the highest notes, Neither sharp nor flat, The ear can't hear as high as that, But I thought I'd please any passing bat, With my High Fidelitee.". Video files are a major bear. There are about 15 types. My old X Box will only play AVI videos, so I regularly have to convert to that format. I mention this to recommend Format Factory. It is also free and does a great job of converting from any video format to any other. I am regularly stuck with mp4, which will only play on the computer. I hope this helps.

M.G., after reading your post, I had a look at the Blue Note Works CD of "Extension", and it does give the date as 1965 instead of 1964. It also says that it contains material from both March 24 and 27. The online Blue Note discography, which gives 1964, says that only material from March 27 was issued. I have no way to check any of that. I don't know where the discography got its information. The Blue Note Works CD might be correct. The American 2 CD set which Lon mentions, has 1964, and only from March 27. Michael Cuscuna having produced that, we can safely assume that the information is correct. Re the length of the Patton version of "Extension", the Braith version runs 6:40, and it's a safe bet that the Patton version is at least that long, especially because it also has the trumpet. It was take 27 and the previous track was take 15, and the other tracks are good, so we may safely assume that the take was a good one. My guess is that space was short and Mchael Cuscuna picked that for omission because the tune appears on the Braith album. Incidentally, a gap of 12 takes?? I often see huge gaps like that. Of course, not all would be complete takes, and some takes after 15 might be of the previous tune, but, as a musician, I find that ridiculous. It shouldn't take so many takes! I couldn't solo on one tune ten times in a row. And when one is live, there is only one version. At Duke Ellington's Impulse session with Trane, Bob Thiele asked if they wanted to do another take of one piece, and Duke said "Why? He will only be imitating himself.".

Many of you will know that John Patton's album, "Blue John", recorded on July 11, 1963 and August 2, 1963, was reissued as a Japanese CD (UCCQ-5008) in 2014 with 5 previously unissued tracks. The CD also contained SHM (and lanolin, ha ha). The new tracks were listed as "rejected", which again calls into question the use of that term: the whole planned LP was rejected at the time; there is a rather sad-looking picture of a Plastylite test pressing of the LP on the Discogs site. One track, "Extension", is not on the 2014 CD and it seems that the only reason for its omission is simply lack of space. I have changed the listing to "unissued". The excellent Blue Note Discography site does not include the 2014 CD and has errors in the listing of the instruments that George Braith plays on the August 2 session, as well as two song title errors, so I have sent the listing below to the website. The 2014 CD incorrectly lists "I Miss You So" as "I Need You So". The correct name was given to me in an email from Michael Cuscuna. i like to hear tracks in chronological order, so I made up a CDr of each of the two sessions. I "faked" the first session by adding "Extension" from Braith's 1964 album of the same name. It fits in seamlessly, because it has B3, drums and Grant Green. Here is the corrected listing 'Big' John Patton Quintet Tommy Turrentine, trumpet #1-4; George Braith, soprano sax, stritch #1-4; John Patton, organ; Grant Green, guitar; Ben Dixon, drums. Van Gelder Studio, Englewood Cliffs, NJ, July 11, 1963 1. tk.3 Blue John Blue Note BST 84143, Blue Note (J) UCCQ-5008 2. tk.14 Nicety - 3. tk.15 Jean De Fleur Blue Note (J) UCCQ-5008 4. tk.27 Extension unissued 5. tk.32 I Miss You So Blue Note (J) UCCQ-5008 * Blue Note BST 84143 'Big' John Patton "Blue John" - 1986 = Blue Note CDP 7 84143 2 - 1989 Blue Note (J) UCCQ-5008 - 2014 'Big' John Patton Quartet George Braith, soprano sax #1,2,5,6, stritch, except #4; John Patton, organ; Grant Green, guitar; Ben Dixon, drums. Van Gelder Studio, Englewood Cliffs, NJ, August 2, 1963 1. tk.16 Hot Sauce Blue Note BST 84143, Blue Note (J) UCCQ-5008 2. tk.20 Bermuda Clay House - 3. tk.26 Chunky Cheeks Blue Note (J) UCCQ-5008 4. tk.29 Davene - 5. tk.34 Dem Dirty Dues Blue Note BST 84143, Blue Note (J) UCCQ-5008 6. tk.36 Country Girl - 7. tk.45 Untitled Patton Tune Blue Note (J) UCCQ-5008 8. tk.62 Kinda Slick - * Blue Note BST 84143 'Big' John Patton "Blue John" - 1986 = Blue Note CDP 7 84143 2 - 1989 Blue Note (J) UCCQ-5008 - 2014 I don't think there is anything earth-shattering here. "Hot Sauce" in the highlight, for me, because Patton holds a note in Jimmy Smith fashion at the climax. I prefer the session with the trumpet because it adds brightness not provided by the saxophones. George Braith's use of simultaneous soprano saxophone and "stritch" (an almost straight alto saxophone, made by Büscher, I think) reminds me of an electric power tool sanding wood, and his solo sound is rather dull. But I did buy his three Blue Note albums, which appeared in the Japanese .Blue Note Works series.

I would like to hear the unissued alternate takes and chatter, but I already have the CDs of the Handy and Waller sessions and they have quite a lot of (then) new material. I won't be needing the new Mosaic set, because, realistically, I would probably only listen to the new stuff once and then it would gather dust. It sounds like they are making sure that the Columbia material is backed up, which is a good idea. This is exactly what some of us have wanted to be done with the Blue Note reels. However, there is a large amount of stuff and it would cost a lot of time and money to do it, so it probably won't happen.

That hoax is in very bad taste. I have never heard of anything like it, and I don't know what anyone could gain from it.

This raises a point: just how bad are the many "rejected" or "unissued" Blue Note tracks? The decision not to issue in the CD reissue era was mainly that of Michael Cuscuna. We owe him a great debt for all of his hard work and persistence over many years, but, with all due respect to him, others should be allowed to make such decisions. This discussion is rather theoretical in view of the fact that CDs are not issued much anymore and the question of economics comes into it. Nevertheless, there is the frustrating knowledge that the tapes will eventually become unusable. There are some tracks that are almost certainly good. Examples are the two unissued tracks from the two John Patton sessions that produced "Blue John", and loads of Three Sounds tracks. Ah garontee that those would be good. Further evidence comes from the fact that a large number of excellent previously unissued performances were included on some Japanese CDs in the period 2003-2015. That might end up being the end of the appearance of new tracks. Who would have thought that the "new" items from "Out To Lunch" would be so good? And why were they not included on the first CD reiussue? The new guy at Blue Note, it seems to me, doesn't do much.

I just came across a very interesting interview with the Australian reed player Errol Buddle. His main intrument was the tenor saxophone, but he also played the bassoon quite often - a rarity in jazz, of course. Its fingerings are fiendishly difficult and I would personally describe the instrument's design as a disaster, when you consider that it is, in a way, a bass oboe. The left thumb has eight keys to negotiate, as opposed to the one (the octave or register key) on a saxophone or clarinet. Nevertheless, Errol was fluent on the instrument. I love its sound during the bass solo on Gil Evans's "La Nevada", where it was played by Budd Johnson. Who was Errol Buddle? He was from Adelaide, Australia. Of interest to you here is the fact that he went to Canada and America in his early 20s (in about 1951) and played a lot in Detroit, where he was able to play with a lot of famous guys such as Elvin Jones, Tommy Flanagan, Barry Harris, Kenny Burrell etc. In the interview, he talks about them and other major players such as Bird, Miles and Diz. The webpage I am about to post shows newspaper clippings of him, in "The Australian Jazz Quartet", playing on the same program as many top groups. What an experience he had! Here is the link https://www.abc.net.au/jazz/features/specials/this-is-errol-buddle/9510504

The online Blue Note discography incorporated all of my additions and corrections. That was quick. They did a very thorough job and listed the 2003 and 2015 CDs, so, as far as I can see, all of their information about The Three Sounds is now correct. To the team: well done! They even noticed that I had missed "Blues On Trial", from February 4, 1962, which mjzee pointed out. As well, I had missed the fact that "The Girl Next Door" and "This Is The Way 'Tis", from December 13, 1960, are on the 2003 JRVG CD "It Just Got To Be" (TOCJ-9527), as well as on the 2015 CD "Here We Come" (UCCQ-5091). The discographers spotted that, and so I don't have to send them another message. Once again, it is unusual for a JRVG CD to contain tracks that were not on the original LPs, and any extra tracks on them are easy to miss. 2003 was late in the day for JRVGs. Phew, it's all complete and correct now. The complications are due to several changes of plan at various stages of the CD era.

Eke, once before I sent a correction to the discographers, and they incorporated it. It was nothing earth-shattering, but it was good to see it used. My latest submission is not exactly life and death, but it would be nice to see the adjustments made. Brad, I agree that such a Mosaic set is very unlikely. There is a large amount of material and the company is struggling, so the sets by Mobley and Morgan (suggested) are safer bets for them. The Mobley set seems to have done well. The Three Sounds were popular in their day, but I wonder how many people would be interested in them these days. It is frustrating that there are a lot of unissued performances that are most likely good (it being a regular working group that could do nearly every item in one take). I wonder how long it will be until the tapes disintegrate. Anyway, what we do have is great, and there is a lot of it.

Oh, thanks. I have that CD, too, but I haven't dug it out in years.The Sounds discography is very tedious to go through, because different versions of the various albums have different "bonus" tracks. It really keeps you on your toes.

In the absence of a Mosaic set of The Three Sounds' Blue Note recordings from 1959 through 1962, I have collected everything that has been issued. I noticed that there are errors and omissions from the excellent and very helpful online Blue Note discography here https://www.jazzdisco.org/blue-note-records/ so I decided to message the compilers with this update. I might as well give the information here. (1) "Azule Serape", " For Dancers Only" and "Tadd's Delight" are not on the 1998 U.S. CD "Standards". They are all on the 1998 U.S. CD "Black Orchid". "Blues On Trial" is unissued - it is not on "Standards". Here is the corrected listing: The Three Sounds + Ike Quebec Gene Harris, piano, organ; Andrew Simpkins, bass; Bill Dowdy, drums; + Ike Quebec, tenor sax #9. Van Gelder Studio, Englewood Cliffs, NJ, February 4, 1962 1. tk.2 Sometimes I'm Happy Blue Note CDP 7243 8 21281 2 0 2. tk.4 Easy Does It unissued 3. tk.6 Azule Serape Blue Note CDP 7243 8 21289 2 2 4. tk.7 Out Of This World Blue Note BLP 4197 5. tk.9 Girl Of My Dreams - 6. tk.10 Old Lamplighter unissued 7. tk.11 Just In Time Blue Note BLP 4197 8. tk.14 I Thought About You unissued 9. tk.18 Blues On Trial unissued 10. tk.20 Softly, As In A Morning Sunrise unissued 11. tk.22 Makin' Whoopee Blue Note CDP 7243 8 21281 2 0 12. tk.23 For Dancers Only Blue Note CDP 7243 8 21289 2 2 13. tk.24 Nature Boy unissued 14. tk.25 Remember - 15. tk.26 Wadin' - 16. tk.27 Mountain Greenery - 17. tk.29 What A Difference A Day Makes - 18. tk.30 Tadd's Delight Blue Note CDP 7243 8 21289 2 2 * Blue Note BLP 4197, BST 84197 The 3 Sounds - Out Of This World 1966+ * Blue Note CDP 7243 8 21281 2 0 The Three Sounds - Standards 1998 * Blue Note CDP 7243 8 21289 2 2 The Three Sounds - Black Orchid 1998 (2) From the March 7, 1962 session, "I'll Be Around, long version" is on the 2003 Japanese RVG CD "Out Of This World", TOCJ-9528, so it is no longer unissued. It is very unusual for the Japanese RVG CDs to contain any tracks that were not on the original LP, and I almost missed this track, which is very good, by the way. "Over The Rainbow", from the same session, is also on this CD. (3) Three Japanese CDs from 2015 contain a lot of bonus tracks, and they should probably add these to the discography. (i) The "Here We Come" CD, UCCQ-5091, contains "The Girl Next Door" and "This Is The Way 'Tis", from December 13, 1960, so they are not unissued. (ii) The "Black Orchid" CD, UCCQ-5104, contains "Tadd's Delight", "Azule Serape", "For Dancers Only" and "Nature Boy" from February 4, 1962, "Over The Rainbow" from March 7, 1962, and "Babe's Blues" from March 8, 1962. (iii) The "Hey There" CD, UCCQ-5096, contains 10 tracks from August 13, 1961: everything from the session except "In A Mellow Tone" and "Here We Come". "Billy Boy" IS on that CD, so it is no longer unissued. I hope that this helps. There are many other Japanese CDs of this group that are not in the discography, but they do not include any bonus tracks that are not on the original LPs, and they are easily found on the Discogs website. It would be nice to have the unissued tracks by this superbly-knit, grooving trio. It is hard to believe that they are not good. But I doubt that they will ever appear. There is probably too much material from 1959 through 1962 for a Mosaic set. I arranged what is available onto custom CDs, and got to 11, though I arranged them in a logical way and did not jam them in as tightly as I could have done.

At the risk of seeming pedantic, I would point out that the discographical error of "alto clarinet" persists (not the poster's fault). Frank Foster played a low clarinet usually called the contra-alto clarinet on these recordings. It is in Eb, a fifth below the Bb bass clarinet, and is an octave below the actual alto clarinet. Both models can easily be seen online. I was given one of these Elvin albums to review when it first came out, and we all assumed that it was a Bb bass clarinet. As I recall, Frank didn't play it below the range of the bass clarinet, though I didn't check at the time. Elvin is my favorite drummer (though I love many others, of course) but I find a recording without piano a little dry and would greatly prefer to have one present.

It's not the point, but I was at a Condon performance in 1964 and Dick Cary was on piano. The others, from memory, included Buck Clayton, Pee Wee Russell, Bud Freeman, Jack Lesberg and Cliff Leeman. Dear old Jimmy Rushing sang with them - I remember shaking his chubby hand at a gathering in their hotel afterward. I got to chat with Eddie briefly, and Bud Freeman was very gracious and sat with a bunch of us and chatted for a long time. He was very nice to me (as a 16-year-old starting out on a saxophone) and I discovered that he used the same reed as me: a Rico #2. Real gentleman, as was Eddie.

I can't find a link in the original post, but I presume that reference is made to this interview with Philly Joe This is an excellent interview with this master drummer. As was mentioned, the piano (instrument) was terrible. It doesn't cost much to have a piano tuned. (I have an upright grand in my home,) Highly recommended interview. While on the subject of Philly Joe, I recommend the following analysis of his work on "Two Bass Hit", at the Miles Davis session of February 4, 1958 As can be seen in the thumbnail, and at 2:25 in the video, he was using a minimalist set of just snare, bass, one floor tom, hats and ride. He gets such a full sound from that that I never thought that he had so little equipment when i played that track over all the years. It puts to shame the rock drummers with a huge forest of equipment that looks like they bought the whole drum store. Man, i can enjoy playing just a cowbell when a performance is grooving. Enjoy.

It was written in Bb, but Miles played it in F.

I came across this a few days ago I have always enjoyed Wes, but I enjoyed this more than I expected. The Netherlands trio (at the start) is my favorite of the backing groups. The pianist, Pim Jacobs, had obviously been listening to Wynton Kelly, and the drummer, Han Bennink, had absorbed the crispness of Philly Joe. We have been told that Wes was practically a musical illiterate (which I never believed), but this video alone dispels that nonsense. Wes discusses the chord sequence here, and had a wonderful grasp of harmony. Enjoy!

One of the finest, up there with Wes and Grant Green. He contributed greatly to countless Blue Note sessions and beyond. I doubt that he will see this thread, but if so, Happy Birthday and thanks for all the excellent playing.

Glad you guys are enjoying it. The bell used in the middle section is the Latin Percussion "Salsa" bell. I have it here. It is the perfect pitch for this, and it adds so much. The tempo is absolutely perfect. Best thing I have heard in a long while.

This might be a bit on the obscure side, but I have often wondered what the lowest note on Eric Dolphy's bass clarinet was. As I posted at the start, the bottom note is usually (written) Eb, sounding Db in concert pitch, or C (Bb concert). Well, this video https://www.youtube.com/watch?v=7ekmrZjp5lY settles the matter. The lowest note is D (C concert). He plays it here, on "God Bless The Child". Also, I can see three silver hole covers below the right hand little finger key stack, whereas my low Eb model has only two. The lowest of the three vents the Eb, and the D comes out through the bell. He definitely doesn't have the low C model, because those have 6 keys in the right hand little finger key stack, and his horn has only 5. This means that Eric could play a low concert C on Trane's "Spiritual" (1961, at the Vanguard), the piece being in C.

Most of you will have been familiar with the 1958 live version of "Poinciana" for a long time. I just found this version https://www.youtube.com/watch?v=cytUz9KkK9M This rivals the 1958 version. The percussion swings like crazy. High recommended! The percussion guy has a pair of the Latin Percussion Giovanni Hidalgo "Galaxy" tumbas. It's hard to make out which sizes he has, but it looks like the requinto and quinto. Usually, if a guy has just two, they are the quinto and the conga. Although I am mainly a reed player, I have all four in this range: requinto, quinto, conga and tumbadora. Nice pieces of kit. I have most of LP's gear, including about 15 cowbells. I just love Latin percussion sounds. It would be great to have all of that Jamal concert available. They don't look exhausted after "Poinciana". I also like the original (studio) version of that piece, which has Ray Crawford on guitar instead of Vernel on drums. The trio with Israel and Vernel plays a sensational version of "Darn That Dream" here https://www.youtube.com/watch?v=i2--wlJmYN0

Thanks, Tom. I found it on Youtube.

That's very interesting. Hymie is my favorite sax section lead alto. Benny's four sax section, led by Hymie, was my favorite of all. The absence of a baritone gave it a light, agile sound. Gerry Mulligan said the same thing, but don't ask me where I saw that. They were still able to get that sax section sound for the movie about Benny, Hymie being on board. I recently saw the two movies in which Glenn Miller's band appeared, and I spotted a bass clarinet. I also saw one in the "Fabulous Dorseys" movie. You don't hear it on their records, because it is buried in the reed sections. An exception is Benny Goodman's "Mr Bach Goes To Town", which exists as both a studio version and a live version in the 3-LP "Treasure Chest" set. (I don't think that that set has appeared on CDs.)