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david weiss
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On 12/14/2020 at 3:17 AM, king ubu said:
Loosdrecht runs slow (+38 cents to fix "Sonnymoon", +24 cents to fix "Love Walked In").
Here's my attempt to figure out the cuts on all of disc two - what a nuisance ... this is some of the greatest music ever to be heard, sound quality is only marginally better than the circulating version (in which, as some may remember, I had a hand in), actually makes me wonder what exactly was the source Resonance used, certainly not a pristine radio archive copy at all (I guess the NJA logo is there because of the studio tracks, LP side A/CD1#1-4).
:: Resonance Version ::
SIDE A (CD 1 #1-4) — Recorded at VARA Studio 5, Hilversum, The Netherlands on May 5, 1967
* Blue Room (4:49) — L. Hart, R. Rodgers / Warner Bros Inc. (Warner Bros Music Div.), Williamson Music Co. (ASCAP)
* Four (5:14) – M. Davis / Prestige Music Co. (BMI)
* Love Walked In (6:04) – G. Gershwin, I. Gershwin / Frankie G. Songs, Nokawi Music (ASCAP)
* Tune Up (6:57) – M. Davis / Prestige Music Co. (BMI)SIDE B (CD 1 #5-6) — Recorded live at the Go-Go club, Loosdrecht, The Netherlands on May 5, 1967
* Sonnymoon for Two (8:13) – S. Rollins / Son Rol Music Company (BMI)
* Love Walked In (9:31) – G. Gershwin, I. Gershwin / Frankie G. Songs, Nokawi Music (ASCAP)SIDE C-F (CD 1 #7, CD 2) — Recorded live at Academie voor Beeldende Kunst, Arnhem, The Netherlands on May 3, 1967
@ Three Little Words (22:25) – B. Kalmar, H. Ruby / BMG Firefly, Edwin H. Morris & Company, Inc., Ruby Harry Music Co. (ASCAP)# They Can’t Take That Away From Me/Sonnymoon for Two (9:33) – G. Gershwin, I. Gershwin / Frankie G. Songs, Nokawi Music (ASCAP) & S. Rollins / Son Rol Music Company (BMI)
# On Green Dolphin Street/There Will Never Be Another You (15:00) – B. Kaper, N. Washington / Catharine Hinen, Pattie Washington Music, Primary Waves Songs (ASCAP) & M. Gordon, H. Warren / Four Jays Music Co., Mattsam Music, Morley Music Co. (ASCAP)# Love Walked In (19:45) – G. Gershwin, I. Gershwin / Frankie G. Songs, Nokawi Music (ASCAP)
# Four (22:19) – M. Davis / Prestige Music Co. (BMI)
—
*) Resonance exclusive
@) complete on Resonance set, as well as in bootleg version
#) edited on Resonance set, complete/longer on bootleg version—
:: Bootleg Version ::
Arnhem (NL), prob.
Musis Sacrum(location wrong, aula of the Academy is correct, see post by @Caravan below!) – May 3, 1967Sonny Rollins – tenor sax
Ruud Jacob – bass
Han Bennink – drums, congasCD1/63:27
# 1. Love Walked In (George & Ira Gershwin) 22:35
# 2. Four (Miles Davis) 27:14
* 3. Old Devil Moon (Lane-Harburg) 13:38 [incomplete, cut]CD2/75:24
# 1. They Can’t Take That Away From Me (George & Ira Gerswhin)
> Sonnymoon For Two (Sonny Rollins) 13:59
# 2. On Green Dolphin Street (Kaper-Washington)
> There Will Never Be Another You (Warren-Gordon) 19:50
@ 3. Three Little Words (Kalmar-Ruby) (22:39)
* 4. ‚Round Midnight (Thelonious Monk) (8:22) [incomplete, cuts in]
* 5. St. Thomas (trad.-Rollins) 10:34 [incomplete, fades out]TT: 138:51
*) not on Resonance set
@) on Resonance set (both versions complete/identical)
#) edited on Resonance set—
:: The Edits on Resonance ::
THREE LITTLE WORDS
no editsTHEY CAN’T TAKE THAT AWAY FROM ME > SONNYMOON FOR TWO (9:36 vs. 13:58)
two cuts, first one somewhere between 6:14 and 6:24 (missing ~6:20/:25 to 8:56 of the complete version, Rollins‘ re-entry @6:25 is @8:35 in the full version), second one later, couldn't really pin it down, but the drum solo is missing (~10:45-12:56 of the complete version).ON GREEN DOLPHIN STREET > THERE WILL NEVER BE ANOTHER YOU (15:01 vs. 19:50)
@ ~6:08 there's a (barely) audible edit (pay attention to the bass drum sound chaning right after Rollins stops playing); missing roughly 6:15-10:50 (bass solo, rhythm duo, drum solo); the fade at the end is identical on both versions (which has me wonder about sources used by R ...)LOVE WALKED IN (19:45 vs. 22:35)
~6:55: bass solo cut (~2:23 min; also cut some applause at end, ~0:25)FOUR (22:21 vs. 27:14)
two cuts again, first is the bass solo, second portions of drums/fours; beginning to ca. 7:00 is the same on both versions, then the first cut takes place; Rollins‘ re-entry @7:49 (Resonance) is @9:21 (Bootleg); then during the fours, there's another cut; from ~10:50 (Resonance) or ~15:35 (Bootleg) to the end, both versions are identical again (R cuts around 20 sec of applause at the end)--
I'm kinda unwilling to look at this as gentlemen's behaviour. First, the rhythm sections is really firing it up and creating a great environment for Rollins to play in. Second, this environment is part of what keeps Rollins going - this is free-flow, free-association playing, and taking breaks, listening to the others, is part of the process. You don't just switch gears after four minutes and add another five, that's not how it works. And this is a live recording of great value and importance, and it really should not be treated that way - at least not in my book (doesn't compare to Columbia breaking up the Monk Quartet routine for studio recordings a bit, as those were artifical products made for a record, this is live, it's in real time, and adding cuts is really dubiuos, as a historian I'm inclined to call it revisionism).
These cuts, I guess, were mostly justdone to fit it all onto LPs. The four full tracks could not have been squeezed onto a disc, BUT the full CD2#1 would have fit onto CD1 if I got my math right!
So what it all boils down to: the uber-hip vinyl crowd is catered to, the recording twitched and defigured to better match their format ... and the same defiguration is used for CD/DL/whatever versions, which is TOTALLY BOGUS B-S UNNECESSARY.
Ok, done. And pissed.
Question... What makes you think Arnhem was a radio broadcast?
Also, it seems like 2 tunes on the same tape would be at different speeds so it seems +38 cents to fix "Sonnymoon", +24 cents to fix "Love Walked In is all about the tape speed it accurate. Also, 38 cents flat is not even a quarter tone flat so still closer to Bb then A though clearly out of tune.
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10 hours ago, hgweber said:
the loosdrecht is almost a semi-tone flat...
I don't agree.
It is definitely flat but not by this much. On my software, if 1 is a full semitone, I had the raise the pitch about .3 to bring it into tune.
Still unfortunate but probably not detectable to anyone who is not playing along with an instrument....
2 hours ago, jcam_44 said:I got it today along with my new CD player. Spinning now. Since I literally have only listened to one other album on the new player I'm not positive but the sound of Sonny's horn on the studio tracks is very wet probably due to the reverb in the room I would guess. I can't imagine they added it when recording in 67. There are some odd phase shifting on the second track as well during the bass solo. Anyone else notice any of this or should I return to my old transport.
Yes, very wet but it's on the original recording. Can't undo wet.
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11 hours ago, JSngry said:
Amazon delivers in a big hurry...yeah, this one cleaned up real nice! I actually envy people hearing this for the first time, w/o having heard the "backstory" of the full session!
Whew! I thought I might have to give you $15 if you didn't like it.
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1 hour ago, chewy-chew-chew-bean-benitez said:
youre doing what, were, when? ok beacuse of covid i can get a round trip for $250 . As long as I can secure a non-Boeing flight, I'd do it. Can I be your sheet music caddy for the day. I promise I won't say anything to Maureen. No I'm just joking dawg, but look I'm glad its being used and I just hope its being treated well.
that is very interesting- kind of like knowing when rudys last simultaneous mono and stereo recordings were etc
I don't think I've heard the speak no evil outtakes.....
so the released just coolin is in stereo?
We'll take pictures....
The Cookers are recording there next week for two days.
The Speak No Evil out takes (most of them) were included in the Blue Note 75th anniversary Japanese reissue of the album if you can find it.
They're great.
Just Coolin' is in stereo.
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41 minutes ago, JSngry said:
How asamant was the cat about not using the direct? Did he have to push for it, or was Rudy amenable with the first ask?
I've heard various stories. It depended on the artist, the producer or the label. He could certainly be talked into things especially if he liked you. I've known guys that have gotten him to pull out old mics and yes, mic the bass (but in my case, keep the direct as well).
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26 minutes ago, Chuck Nessa said:
Just to add some more RVG info - When we recorded Roscoe's L-R-G (August 7, 1978) I took home a pair of stereo 7.5 ips reels of the day's work. On May 21, 1979 when we recorded Leo Smith's Spirit Catcher, we were provide with cassettes. Rudy had moved forward.
For better or worse, Rudy was an equipment geek and liked to keep current and embraced new technologies, including cassette players apparently. By the time I recorded there in 1992 or 93, we recorded digital and he used a bass direct and such. It was a bit of a disappointment. He did send us home with a reference cassette though.... I'll be recording there next week by the way....
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On 7/19/2020 at 8:50 PM, Dan Gould said:
My understanding at some point was that Bob Belden was the source for the sessions that escaped - including Ike Quebec, the KD date, and the extended Grant Green date, and that all of these were acquired when he had access to the vaults. I am curious about "different home now" - they made it back to BN or to some other person?
As far as mono goes my transfers are not - close, no major stereo separation, but different peaks. I've never seen a recording that was mono turn into something not quite mono in the digital realm (as in, mono source, extracted as stereo -> still going to be mono. So David I am not sure of your info and would be interested in further detail.
As for tracking and potential alternates, I have a disc of the master takes listed in the discography and just burned in that order so I guess my version is truly chronological. I would need to listen to the full discs to find these potential alternates, I could swear that the few full takes not labelled as the master take featured more squeaky Hank reed than the masters.
Maybe my attitude about the recording is colored by exposure to the full session and one shouldn't see how the sausage gets made. But I still think the band wasn't gelling that well which is why there were so many takes, so many breakdowns and so few full takes.
Hey Dan,
I'm not sure what the source of your Blakey session tapes were but if they were stereo, it would be major stereo separation, hard pans left and right for the horns, it would be clear. It would be this or mono. Perhaps you should listen to a sample of the new release on line and compare if you like. I'm not sure what you mean about different peaks. I can't go too much into detail but I'm told by more then one person that the source of these were Alfred's sessions reels from where ever they wound up plus I've listened to these as well and they are mono.
I also don't want to get too deep into, let's say, Belden's proclivities regarding the distribution of the tapes but I was working with him then. His entree into the vaults was my telling him about record shows and rappers and DJs and such shopping for vinyl looking for beats. He formulated the Rare Groove Series and was allowed into the vaults to find unreleased groove stuff to release. There was plenty. While there, he ordered a bunch of other stuff up he had been dying for years to hear. Just based on Belden's taste and priorities I can tell you he started by listening to anything unreleased that had Herbie Hancock on it and after that, Grant Green and maybe Larry Young. Those were his favorites. He also was trying to get every album any of those guys every played on and would give me lists in case I saw one when shopping for vinyl myself....
So, do the math. I was there when he came back from LA and we had listening sessions. He wasn't that interested in the Art Blakey session so he was never the source for this. The KD date had Grant Green on it but I don't recall him ever mentioning he had this or him playing for me. But Speak No Evil out takes, Unity out takes, Solid out takes, unreleased Shorter date, unreleased Tyrone Washington date? Yup. And then a few tracks of other things here and there. Aborted Herbie date (the one tune that wound up on the Herbie box) and some break downs and false starts from some of his favorite dates, yup. He didn't circulate any of this stuff for the longest time. I got copies of a few things because I was working for him but at some point, partially out of his general frustration with the music business and such, he started sharing some of this stuff with some of his friends and I guess it blew up. When that Joe Louis guy posted all that stuff on youtube, some of that stuff probably could be traced back to Beldon since he was the only source but most of it was from elsewhere. I don't know who. Belden also was not a huge collector of live tapes except for Miles, Herbie, Wayne and Grant Green essentially... He didn't seek it out at least. I hope this clears a few things up....
On 7/19/2020 at 9:36 AM, Chuck Nessa said:Rudy's Hackensack studio ran separate mono and stereo machines at 15 ips. He also would run a 7.5 ips machine for reference purposes. When he moved to Englewood Cliffs he discontinued using the dedicated mono deck.
Kind of what I thought. Thanks for clarifying Chuck.
18 hours ago, bertrand said:On 7/19/2020 at 9:36 AM, Chuck Nessa said:Rudy's Hackensack studio ran separate mono and stereo machines at 15 ips. He also would run a 7.5 ips machine for reference purposes. When he moved to Englewood Cliffs he discontinued using the dedicated mono deck.
So he still had an extra machine at Englewood Cliffs? But only Coltrane took home copies? I always wondered if Larry Young took home a copy of Mother Ship but I guess not. Blue World was not in the Universal stash, nor at Ravi's, correct, the only copy was in Canada?
Who took what home depended on the artist and the label. Coltrane took tapes home as did Miles Davis. Others, I don't know about. Blue Note was in a way producer driven, they were making the decisions (with artist feedback at times) so Alfred took the tapes home. I'm talking the reel to reel years. Once cassettes became the norm and then digital, this dynamic changed, easier to make more copies so more people could bring stuff home to listen to if they wanted to. A number of Coltrane things have seen the light of day because of the session reels Coltrane took home but there have been other sources as well....
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1 hour ago, Ken Dryden said:
Were the alternate takes too unpolished to include? I just received my copy today and enjoyed it.
I thought two of the alternates (I would have to go back to my notes to remember which) were pretty close to the chosen masters and worthy of release and one other decent enough. The problem is that with the reemergence of vinyl, vinyl is now the priority so no more bonus CD tracks. They would have had to include them on the vinyl and make it a 2 record set to include alternates and while I am not privy to the thought process, I assumed they did not want to do that (expense probably) plus the bonuses would have probably been in mono.
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I thought I'd try to clear a few things up for you....
The CD was mastered by Bernie Grundman. I thought he did a great job. I don't know when, but at some point, the master takes were chosen and an order was assembled and the CD and LP were mastered from that source but I believe the order as it was originally assembled, was changed for this release.
Also, the full session that was circulating among some of you was not from the Blue Note vaults, A second machine was run at the same time and at least in this time period, at a slower speed and in mono. These were copies made for Alfred Lion to take home and listen to. These tapes have a different home now and this one got out somehow and circulated. The sound quality is fine but it is in mono. I listened to these as well as at one point, we were contemplating adding bonus tracks to this release. I have to say that while I am a fan of mono, when I first heard the stereo masters, this record sounded a whole lot better to me, it kind of came to life. Some of this is Grundman's mastering of course. And yes, to me Lee is the star of this session, he sounds great. When I first told Cuscuna I thought the date was not bad, he said, aw, you're just a trumpet player, meaning, I assume, that I was just taken in by Lee's playing.
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On 4/20/2020 at 0:39 PM, bresna said:
Great CD but I didn't realize it was "rare". Concord released this originally. Is Reel to Real a new Concord label?
Doing a Google search, I see that Real to Reel is a new Zev Feldman label. So is Concord licensing stuff now? Interesting.
Actually, this is a label run by Cory Weeds, a sax player who has been presenting jazz in Vancouver for years. I believe he has a label called Cellar Live that has recorded many CDs over the past few years and Reel to Real is the archival wing I guess. Yes, Zev Feldman is involved with getting the live recordings he is releasing but I'm pretty certain the label is Cory's and he deserves the credit.
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5 hours ago, bertrand said:
I don't hear much either, but Wayne specifically wanted to make a point to me that he reused elements of Twin Dragon in Atlantis. The way he said it, it was almost like he was saying Twin Dragon was a rough draft.
It definitely fits in with Atlantis although it was four years earlier. Of course, who knows how long he had actually been working on Atlantis. He may have been saving it for a non-Weather Report solo opportunity, which he did get of course.
Do you see a stylistic difference between Twin Dragon/Atlantis and Wayne's Weather Report pieces from that era? That would be Plaza Real, Predator, Swamp Cabbage, Pearl On The Half Shell and Face On The Barroom Floor. Would those have fit on Atlantis or would they have clashed?
To be clear, I was talking about Atlantis the album, not the specific tune and again, while Twin Dragon stylistically fits right in with every other tune on the album, I hear no part of the melody showing up on any of the tunes on Atlantis. At least I don't recall this to be true, it's been a while since I worked on this music but just singing Twin Dragon in my head now tells me there is nothing there I have heard elsewhere in any of the other tunes on Atlantis. I would need to take a deeper dive into the tunes he wrote for Weather Report to really give you a complete answer there but a lot of this has more to do with the band performing the music then what was written.
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13 hours ago, bertrand said:
How about the connection between Twin Dragon and the Atlantis album. Wayne himself told me about it so there must be something there.
To me, it just sounds like another tune written during the same period that just didn't make it onto the album. Nice tune, totally in the style of the other tunes on the album.
I don't recall any parts of the tune being used elsewhere later on....
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On 4/1/2020 at 8:04 AM, JSngry said:
Is there a possible connection to this music and the music on Wayne's "rejected" Blue Note session?
Not really, actually hardly at all. He uses the same 3 note melody fragment that is in Universe and Sanctuary on one of the tunes here and on another tune, there is another melody fragment that has something in common with a few notes from Universe and Sanctuary. Other then that, there is nothing in common. I believe the tunes on the unreleased session are probably sketches at best and perhaps a few chord changes written out while Universe is essentially through composed.
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I believe Lenny White and Buster Williams are on it among others. Recorded in the UK while on tour there last Fall.
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19 hours ago, Late said:
It's a bootleg and it's actually from the Both/And (same tour though). I vetted these tapes a while back. There is more then just these three tracks. It's decently recorded and it's all killing....
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4 hours ago, Mark Stryker said:
Re: Joe and Chick
Chick's "Live in Montreux" set with Joe, Gary Peacock, and Roy Haynes is GREAT. Some video of that performance is available on YouTube. There's surprisingly little documentation of Joe and Roy together -- a great match their springy, loose, bubbling, ever-shifting rhythmic conceptions,
Coda 1: In addition to official recording that came out on Stretch, there appears to be a bootleg CD on Jazz File called "Trinkle Tinkle" that, if the Lord discography is to be believe, was also recorded at Montreux on the same day as the other material. Only the title tune seems to be repeated repertoire. Anyone know anything more about this? A second set ?
Coda 2: Chick played a week at the Jazz Workshop in Boston the late '60s with the Kenny Dorham-Joe Henderson Quintet. Reggie Workman & Joe Chambers were on the gig. Where are the tapes of THAT?
I have the bootleg, it came out first, and there are a few tunes on that CD that are not on the official release and vice a versa. It's all amazing stuff.....
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On 9/10/2019 at 8:00 AM, bresna said:
No - Kevin Gray mastered and cut these LPs. Joe Harley is the reissue producer and he's the one who came into that thread and said it sounded fine to him and it matched what he heard on the master tape.
On 9/10/2019 at 8:00 AM, bresna said:No - Kevin Gray mastered and cut these LPs. Joe Harley is the reissue producer and he's the one who came into that thread and said it sounded fine to him and it matched what he heard on the master tape.
Thanks...
I guess they should have coordinated answers or something though....
Kevin's explanation implies that these tapes weren't handled correctly at some point and from my experience, which is admittedly limited, this is certainly not the case....
Some well respected engineers I know actually like the vintage Scotch tape mentioned above as well....
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On 9/8/2019 at 6:14 PM, bresna said:
So Kevin Gray replied to a Hoffman forum member about the possibility of warbling during tape playback:
“Scotch (3M) 111 was the very first U.S. recording tape formulation produced in quantity in the U.S. It was released in 1948 and was about all there was in the U.S. until 1964. About 90 percent of the recordings I master from that period are recorded on 111. All the RVG Blue Notes from that period are on 111. It is a red/orange iron oxide basically glued to clear acetate. It bears no resemblance to modern tape.
“Acetate is very unstable over time. It becomes extremely brittle. You can pull on it slightly and it breaks. This tape never wound totally smooth on the reel, but that has also gotten much much worse over time.
“The biggest problem occurs when the tape was wound off at high speed, as opposed to being played though. This might occur when a tape was perhaps wound to the head to copy one song. Then the rest of the tape is wound off in “Fast Forward”. The result is that the tape cinches slightly and if left that way develops a permanent curl or ruffle. This is very common on 111. Once this has happened the tape does not wrap smoothly over the playback head and tends to wander slightly. This is clearly visible as the video shows. Another problem is that NONE of the recorders from the 50s and early 60s had constant tape tension, which all modern tape recorders have. The tension would be higher at the end of the reel than the beginning. This also took a toll on tape.
“The 2nd generation 3M tape was Scotch 201. Although the oxide changed (dark brown), the base was still acetate, and the same problems exist. Around 1965, 202 was released, which was on modern mylar/polyester. But RVG used both 111 and 201 for several more years.
“So the tape wandering over the heads as opposed to staying flat does introduce speed anomalies. How could it not? And it isn’t consistent from tape to tape. Some wind smoother than others. Fast winding, as mentioned before, things like temperature and humidity in storage, and age have taken a toll.
“There are other factors effecting speed, such as sticking splices. The adhesive in the splicing tape oozes with age. It can’t be cleaned off very effectively because of the brittleness of the tape.”I haven't been following this too closely but I have a question for you guys....
Is this the same guy who went on this same thread on the Hoffman forum earlier and said he didn't hear the issue in question or that there was nothing there?
I know some engineers that would have a different opinion then this...
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Perhaps donate them to Down Beat. I was told years ago their archives were flooded so they might want to have a complete collection again or perhaps they are relieved they don't have to deal with maintaining an archive...
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7 hours ago, GA Russell said:
I ask about PD because if anyone can sell copies, that will limit the price Impulse! will offer this for.
I believe pubic domain has to do with when the recordings have been released, not when they were recorded.....
4 hours ago, Shrdlu said:It turns out that this is taken from a mono tape (7.5 ips, one wonders), as was the case with last year's 2 CD set. It seems odd that Rudy didn't record it on a proper tape in stereo.
Horror of horrors: The vinyl version of the new album (which I won't be getting) was done by McMaster. I thought he had retired.
I'm sure Rudy did record this on a proper machine with proper tape etc etc...
Rudy ran this machine as a back up to give people tapes to take home (at least for Coltrane and Alfred Lion as far as I know)....
So, tapes that have been lost are rediscovered when someone associated with someone who was important enough to take home tapes from Rudy find the tapes.
Most of the Coltrane stuff comes from the family though I'm told there have been other sources.
I'm working on something now that involves one of these types of tape. Even with the slower speed and such, they sound great.
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On 7/19/2019 at 5:43 AM, Rooster_Ties said:
That'd be me, the OP (in this case). Sure, I'm definitely still curious. Such an incredible tune!!
Geez, I just looked, and this thread that I created is 15(!) years old!! So it predates all of the 5-6 times I've heard Billy since I moved out here to D.C. (in 2011), most of those times with you, Michael. My how time flies.
Give me an e-mail address and I'll forward it to you.
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It's in 9 but it's not a usual subdivision of 9 which is usually 3,3,3 I guess....
It's usually 4,1, 4 but in one section it's more 4,4,1.
I kind of have a soft spot for this version but listening to it now, it sounds tame compared to how we play it live....
Whoever asked about Capra Black, I can hook you up with a lead sheet of sorts for that if you are still curious....
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1 hour ago, Ted O'Reilly said:
Okay, but isn't all proper journalism "investigative", in some way? Certainly what JazzTimes did isn't journalism, nor is a lot of what I see and read today. It's just repeating press releases and viewpoint-handouts.
I thought they were printing unsubstantiated rumors without doing any investigating at all at first and it was very harmful to the process at the beginning of this campaign, casting doubt as to the validity of the page and putting doubt into the minds of people who wanted to donate. I had an issue with that. They did recover and print a correction early on and have since published a long letter from Kenny going into all the details of their issues. I found it sad that Kenny had to take the time to go into such personal detail about his issues. That couldn't have been easy for him. I see the same doubts expressed here and are continuing. I find that unfortunate as well....
I know there is a hunger for content and not much budget to investigate things but to print articles where sources are pulled from the comments section on the gofundme page or going further back (and a personal issue for me) comments on this very board that were used as "news." It's troubling to me....
1 hour ago, Ted O'Reilly said:Well, JazzTimes just reprinted a possibly-dubious press release. The newspaper reporter went to several sources and asked questions about the situation, got several points of view and presented the information, leading me to conclude that something's fishy here. Unless that's considered 'fake news' nowadays.
Sorry Ted, missed this one....
Exactly, no investigation though the post I had issue was the one where they expressed concern about the validity of the campaign and their source I believe was the doubt expressed in the comments section of the gofundme page and apparently nothing else. That is not journalism by any means...
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2 hours ago, Ted O'Reilly said:
JazzTimes item: one person's view (and is it KB?) versus investigative reporting. Having read both the JT and the WaPo items, I'm leaning toward the reporter's story.
What do you consider investigative journalism here?
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Sonny Rollins "Rollins In Holland: 1967 Studio And Live Recordings"
in New Releases
Posted
But that's just it, isn't it? Edits and such are made all the time and the only reason one would know about it with live material like this is of a previous bootleg version exists.
If one listened to this fresh without the knowledge of edits, would it be a great listening experience? Dare I suggest even better perhaps?
What if the artist approved the edits or approved the edited tracks?
Clearly there is a bigger picture involved here and I really can't make a judgement about it.
Would I prefer unedited music myself? Probably
Am I the person these labels are producing music for? Probably not
If you made a big expensive box set and needed to recoup your expenses, would you go out on a limb (rightly or wrongly) to try to make it a tighter, more concise and perhaps a more enjoyable listening experience for the average listener? The edits are pretty seamless I think....
Here are some things I do know for sure after working on a few of these things.
1. Vinyl is king again. Vinyl sells more then CDs now. Any decisions about length and such are dictated by vinyl now,
2. The music has to be the same on all formats so no edits on one format and unedited on the other formats.