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Big Beat Steve

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  1. Thanks again - I've thought about restapling too but this would be far from inconspicuous too. And I guess this might reduce any further "resale value" (for my heirs ) with picky purists just as much as a neat bookbinder's tape strip. I have done these staple repairs numerous times with 50s magazines where either the staples had rusted and almost disintegrated or the paper had come loose (cover and/or center double page). In some cases I've restapled in different places along the spine (taking great care to actually staple exactly on the folding "peak" of the spine and pages). In others I've removed the staples and then strengthened the insides of the cover and the center double page around the stapling areas with a length of repair strip (so these strips are fairly inconspicuous once the mag is opened and leafed through) in order to stabilize the paper. And then I've restapled in the original positions. This does look neat and stapling through these reinforcing strips greatly reduces the risk of the paper coming loose again). But like I said, this was with magazines and booklets of a collector value well below that of this JWC folio. So I really am wary about having anything like this done with the JWC folio because, given the thickness, you would need rather hefty staples. And then there is the problem that additional strengthening of the spine would still be needed because it does have some rubbing wear (where the white "core" of the paper has come through). Oh well, time will tell ...
  2. Thanks Romualdo and Bakeostrin for your opinions and advice. I am still on the fence about how to proceed but see little alternatives to stabilizing the stapled sections (a few inches to and fro, or the entire length) of the spine on the front and back insides with repair strips - of the specific type and brand used by book restorers. These strips are fairly thin (but strong) and matt and do not yellow nor leave discolorations. They have been recomended to me by someone from the trade (not for this project but for earlier ones - remember these acid-laden "pulp paper" US paperbacks from the 40s and early 50s?). But alas it would be not quite inconspicuous at the front (with the inside of the front cover being black). The top staple is about 95% loose from the book/folio itself and the bottom one is not that far behind. So each time the book is handled (however carefully) the stapling of the softcover will get weaker and before long will separate completely. I am not sure how to glue this up inconspicuously (with whatever glue) but will inquire with pros from the trade. A clear mylar cover (jacket) to fit the book into is tempting for protection of the spine (already somewhat worn in my case but not disintegrating). But with the cover almost loose from the pages I cannot see how this would solve THIS problem of really keeping the cover and the iside pages (which are totally tight at the staples) together. Particularly since I imagine such an additional cover would increase the strain on the stapling on a SOFTcover (as in this case). Over time I've tidied up and "stabilized" a lot of old collectible magazines and books (from the 20s to early 60s) from my hobby areas, have tried various solutions with glue, restapling and/or clear tape of various types (depending on the kind of age wear) and have almost always found tidy solutions that look neat. But of course these never were in the price bracket of this Claxton JWC folio. A dilemma ...
  3. Can you provide a direct link to the discussion going on at Discogs?
  4. Interesting to read about these examples of mis-dating. There probably are countless errors like these (many probably perpetuated for decades) and correcting them (and making the corrections known - such as in the of subsequent reissues or re-reissues of the records in question) seem to be a permanent topic of discussion in some circles. At least that is the impression you get as an attentive liner notes and booklet reader. And in many cases the formerly published dates seem to be much farther off the "correct" mark than in the two cases you discuss. Thanks also for (re-)mentioning the discogrpahy history book by Epperson. I had heard about it some time ago and am now seriously considering taking the plunge. (At the risk of maybe not reading it in full more than once ...) It Is an interesting topic, and I wonder to what extent the author gives due credit to those who laid the groundwork (Delaunay, Panassié, McCarthy, Rust, Blackstone, Lange, Jepsen ... - all of them - except Blackstone - European, FWIW) and puts things into perspective when he deals with more recent publications.
  5. Yes I do think that there are similarities in their "pianistic" chops and practices. I do not really have a horse in any race of what criticism (or should I say "reservations" or misgivings?) is objectively justified in either case. Being no pianist, I would not be able to judge such reservations to any deeper extent anyway. But even as an onlooker and "jazz listener" I cannot help feeling that - at the risk of speaking heretical words now 😁 - there are some jazz circles where the accepted present-day wisdom is "Thou shalt not criticize Tatum" but also "Thou shalt not like Peterson".
  6. Similar estate finds might be made even over here. Though usually with much rather quantitites of each individual artist. BUT - no AHMAD JAMAL in a collection where the jazz section was this heavy on pianists?? Amazing ...
  7. Funny that this thread comes up again. I got to thinking about this discussion the other day when I read my way through a stack of 50s jazz magazines (both US and european). One thing that reminded me of this discussion was that back then you every now and then were liable to find a deep analysis of why Art Tatum in the author's view was overrated jazzwise. In a nutshell, pianistics beyond reproach, but jazzwise all flash, fireworks, virtuosity to the detriment of the "real jazz depth" (I am paraphrasing very loosely). Seems like assessments like this were not that rare in his lifetime - though he seems to have been canonized forevermore once he had died. And lest anyone come up with a predictable reply to the tune of "those who said so didn't know shit then" - it just remains so that appreciation is in the ear of the behearer - and in everyone's approach to the subject matter. (And one man's meat, of course ...) And yes - I do enjoy my Art Tatum records immensely and pull them out more often than my (somewhat less numerous) OP records - of which also appreciate a certain number, e.g. those of his "Exclusively For My Friends" series for MPS that I own. Not to mention many of his rhythm section contributions in horn-led sessions. Yet I wonder if some of the jazz scribes active through the decades approached artists like these two from similar angles and found fault with certain aspects of their works for what to them seemed to be similair reasons.
  8. Can't let Soulpope and Optatio do all the tough work, so ...
  9. Online newspaper sites report that Swedish jazz basisst and composer Georg Riedel has died at the age of 90. RIP
  10. Well, at least "mine" have seen some (street or juke joint dancefloor?) use! 😁
  11. Ha, you beat me to it ... Was about to pull this one off my shelf. Just to show how the color of a cover can be pure coiuncidence (see my yesterday's post in the "Blue" covers thread ). Anyway ... elsewhere there seem to be some strange notions of "purple" colors in this thread ... Some look predominantly and decidedly more BLUE to me.
  12. All the better, then ... But what I wanted to hint at is that if you exclude the word "blue" and therefore the color that highlights the title and motto of the album you just as much risk ending up with GENERIC reissue covers such as in the case of the ones I showed (where the color is pure coincidence ).
  13. You asked for it so this is what you get ...
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