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That's what drummer Billy Brooks called "the power of repetition". Nobody complains when an organist holds a chord.

May 23 Artie Shaw - 1910 Helen O'Connell - 1920 Humphrey Lyttleton - 1921 Rosemary Clooney - 1928 Robert Moog - 1934 Marvin Stamm - 1939 Ken Peplowski - 1959 Jewel - 1974 ***** Bryan "High Speed" Herta - 1970

Julia Alvarez: The Cemetery Of Untold Stories

From the Jobim OAS box.

I don't know how many times we have to go over this... there's no way a few misread 1's & 0's in a digital bitstream is going to change the frequency response of any playback. Misread digital data that the error correction cannot correct will result in noise like clicking or blanking, not any sort of modified output signal. The chain of 1's & 0's to create just a few seconds of music is astronomically huge and to change those few seconds of audio would require 10's of thousands of those 1's & 0's getting flipped... and that's only if the aren't corrected by error correction system. The CD standard is 44,100 digital samples per second. Think about that and imagine how many those 44,100 bits would have to change in just the exact way to make that single second of music go from a 5 kHz sound to a 7 kHz sound. Not going to happen. People need to stop attributing analog signal analysis to digital.

I'm not expecting it to be among Pops' greatest works, but I pre-ordered it.

Unheard performances by Louis Armstrong at the BBC in 1968, regarded by Armstrong aficionados as some of the jazz legend’s greatest work, are to finally be released. https://www.theguardian.com/music/article/2024/may/22/unheard-louis-armstrong-recordings-to-be-released-bbc-1968

I believe it to be correct, at least in the improvised music idiom. Lacy's solo LPs/recitals were directly inspired by Braxton, as I understand it. Parker, McPhee, Mitchell, Abe, Hemphill, Lake, Brown... all of those came later. The Hawkins soli were released on shellac 10"s and I'd call those EPs at most, not albums. The Hawkins on Asch is essential material, IMO.

yeah, I have a mono pressing of that LP (wasn't chasing after the mono, just what landed in front of me). It's a very good date.

Sure, I'm aware. I'd still like to have an officially released version--in part because I only have a mono button on my phono preamp.

From that date is would be a fold down and you could do that yourself.

No. I actually wish it were. Now playing Grant Green “Green is Beautiful” 85th Anniversary Blue Note Japan UHQCD 593×599 93 KB

Martinu, String Quartet No. 7 / Quartet for clarinet, french horn, cello, and side drum / Quartet for oboe, violin, cello, and piano / Mazurka-Notturno for oboe, two violins, and cello / Nonetto Prazak Quartet (string quartet), Czech Nonet and associated soloists (Praga)

Is it mono, as indicated by the cover art posted?

Miles even gets on Diz' case in this book. He's quoted as saying he doesn't want to come out like an Uncle Tom like Satch and Diz. After being humiliated nightly, and begging Bird to fire him every night after he replaced Diz in the Quintet, he bragged to Diz later on, "I can play all your stuff now". Diz put hm in his place immediately, "Yeah, but you gotta play it 8va lower!" Yeah, easy for him to say.

This is one of the best sounding of the Kevin Gray 85th cds yet. Hank Mobley “A Caddy for Daddy” 85th Anniversary Blue Note Japan UHQCD

I saw Braxton give a solo concert in Toronto. Can't remember what date but late '60s or early '70s.

Neat trick, new book with a forward by a dead guy. This has been in heavy rotation on various channels we receive ... I certainly prefer the original.

Thanks! I've had that new album on heavy rotation recently. It's excellent. Coincidentally and also motivated by the recording, I reread MS's "Black Mystery School Pianists" article a few days ago.

Time for that 90s blog perhaps? 😀

Saint Motel "Happy Accidents" (Elektra) 2016 ....

About the presumed recording date: Remember this was the state of discographical knowledge as of 1950. Superseded long since. As for the Selmer logo, I am aware the one on the record label is the one used on the instruments. As Selmer used a different (simpler) logo in their magazine ads in 1946 and later (actually using different typefaces here and there), however, these ads are no indicators of when the releases of the records on the Selmer label (using the same Selmer logo) may have started. I have just checked a few more Jazz Hots from that period, and the first one that features the actual Selmer logo in their instrument ads is from March 1949. Now when did releases on the Selmer label actually start and how long after their recording session did "Hawk Variations" stay in the can?