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https://www.nytimes.com/2025/10/10/arts/edmund-fitzgerald-gordon-lightfoot.html?unlocked_article_code=1.tE8.o8Rl.LbaN2a01PVJh&smid=url-share

This looks to be a Spotify version of the Pumpkin LP, "Rifftide". I never could figure out if those Pumpkin LPs were legit. I think I still have the Roy Eldridge/Richie Kamuca LP in the racks.

Really? OK you explain what he means. He says he refuses to talk to anyone about music unless they are up to his standards of music understanding. When it was pointed out that we talk about music here he shifts to oh I meant in the real world. So what does that mean? He's ok with us because he can always turn us off? In what world does it make sense to say I won't talk about music with you unless you are up to my level of understanding but nothing personal against you, I only do that when the person is in front of me? WTF? We are qualitatively different because we are not in close proximity? Please make it make sense. It's nonsense and I am done with it because the conversation keeps getting pulled into Jim's hangups and emotional responses to the word noodling instead of the Plugged Nickel sessions.

I consider myself a serious jazz aficionado, and depending on my mood, there are times when I cannot endure too much "noodling". It is like playing and thinking, "do i really need that many notes?" It is part of jazz, playing licks over the chord changes or whatever. The point is whether it makes sense to the player, or to the listener, are you experimenting - that band certainly did - and so on. I think it comes down to saying you do not like or get something without making negative comments. Talking about music or anything without judging. It is hard, I know. "Noodling" can be such a negative term, unless you use quotation marks.

There’s a bit of sadness in our household that the crisp autumn air complements. It sure is beautiful here in our sylvan neighborhood. Right now starting with disc 2 of the Ike Quebec “Complete 45 Sessions” released last week on Blue Note. Quebec’s sound is so full and enticing, and he has both the spirit of the swing era and the modernism of Rollins–I also really appreciate the A&R work he did for Alfred Lion and Francis Wolff.

You know perfectly well that isn't what he was saying. Total straw man argument. On the other hand, this is totally reasonable and moves the conversation forward.

Just received a 2025 MacArthur Fellows Award for "Improvising Musician and Composer"

The Dream Syndicate – "Medicine Show: I Know What You Like" (Deluxe Edition)

Is it just my imagination or is Ethan Hawke everywhere right now? I don't even know who he is, but is name shows up on every damn non-pharmacuticsl commercial!

Hey, they're in the 51st State. So go Mariners!

***** Before yesterday's win, Edmonton had lost 13 straight to Winnipeg. ***** *****

House Of Guinness - Netflix

I discovered that I really like French TV. Just now I am streaming a series called "The Wagner Method" on PBS Passport. My French language knowledge comes from a brief class I attended in college decades ago in order to pass a test but I find it challenging to follow along in French and puzzle out the dialogue. I find myself admiring the way French women dress and their relative lack of makeup! The Wagner Method is a fairly ordinary police drama but the scripts are quite witty, full of comic relief, and constantly tease with sexual goings-on.

Re his bass playing - I really like the run he plays on “The Story In Your Eyes”. And while I don’t think his songwriting was nearly as good as Justin Hayward’s, “Ride My See Saw” is a banger

What you don't regard us as real people? Last I checked I actually am a real person who lives in the real world. And in that real world I communicate with other jazz fans on this board (whom I strongly suspect are real people too!). When we sell each other cd's they come in the mail in the real world and are real objects. Regarding us as internet phantoms who don't exist in the real world seems odd and very possibly disrespectful to me. As far as your feud with everybody in the in person 'real world' whose jazz expertise is inferior to yours - maybe it's time to take that chip off your shoulder.

The only cities in the U.S. that are larger than Toronto are Los Angeles and New York. I'd say it's not a small market at all. Unless you're talking U.S. eyeballs only, in which case it's probably got the smallest U.S. market.

I dialed up the Resonance 3CD set to listen to Iron Man via Pandora on my iPhone (on earbuds) on a walk recently — and I’d forgotten it was mono, which I’m not at all a stickler about (or so I thought). But then looking for the Illinois Concert to listen to next, on a whim I decided to listen to some random earlier reissue of Iron Man, which happened to be in stereo — and the difference between the mono and stereo was absolutely stark — something I was surprised I even cared about (but maybe it was partially my hearing it thru earbuds?). Somewhere in a box of discs I eventually plan to trade off one of these days, I’ve got my 1986 US ‘Celluloid’ reissue of Iron Man (which appears to have been the album’s very first CD reissue) — and one of the first 20 jazz CD’s I ever owned (I found it used around 1990, iirc). Any thoughts on the mono-vs-stereo aspects of the Resonance set? I probably don’t care about the entire set being in mono — but “Iron Man” in particular, and the Iron Man album a little more generally — is just about my favorite Dolphy ever. (So maybe I’ll dig out my old ‘Celluloid’ cd and keep it after all.)

I'm talking about in real life

Well, yes, but - isn't this a jazz forum, and isn't jazz some kind of music? 😎