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Here’s what it is, apparently (what I found from just googling about it)… https://en.wikipedia.org/wiki/Diplacusis It just started 5-6 days ago, along with some ringing in my right ear (the ear that’s perceiving things almost a half-step sharper than reality). I’m not incredibly worried about it YET — I’m assuming I have some fluid and maybe an infection too — in my right ear (the one ringing), but no pain. And I assume it’ll sort itself out in a week or two, on its own. I had tons of ear infections as a kid, got tubes in my ears (tiny tube in the eardrum) at least twice (as a kid) — and I eventually grew out of it. And for the most part, I haven’t had more than a half-dozen ear infections in the last 35+ years. I’m also assuming maybe I’ve actually experienced this effect — but more in BOTH ears at the same time (if it is fluid behind the eardrum) — but rarely in just one ear only. Anyway, let me also tell you this is anoying as fuck. It’s like everything is double-tracked 24/7 — with the second track a half-step sharp — aka perpetual half-step-dissonance. (Maybe Charles Ives would have loved it!!) I can sorta listen to MONO recordings, as long as they don’t have lots of piano chords (especially delicate ones). So listening to piano trio recordings is absolutely out — but most early horn-driven bebop is a little more tolerable (better with 2 horns, not just one — but not 3 or more either). But stereo recordings — especially with some instruments hard-panned to the left, and others entirely to the right — and especially listening on earbuds — is absolute torture. Anybody here ever experienced this before??? There was a public holiday event at work on Sunday, with Xmas music on the PA — and let me tell you Alvin and The Chipmonks just about did me in.

One amazing source is the log books of Rudy Van Gelder, who was as fastidious with information as he was with sound. Every session is documented and has been a great research tool for me. ECM albums rarely were made in a day, which is why they tend to list month and year. That said, when a single session date was in effect, they rarely included that. One example that comes immediately to mind is Arild Andersen's A Molde Concert, which just says August 1981 but took place on August 4th according to the Molde Jazz Festival people I contacted. One early label that was great about including recording dates was Argo.

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(Patricia Brennan, Of The Near and The Far)

Daily musical engagement correlates with a marked reduction in dementia incidence. https://limelight-arts.com.au/news/listening-to-music-after-70-linked-to-sharp-drop-in-dementia-risk-australian-study-finds/

Re-recording dates on BN - what is more, the JEPSEN's Jazz Records discography (published from 1962 onwards) listed the recording dates almost throughout for these releases. I just did a quick check on some of the BN acts (Blakey, Sonny Clark, Donaldson, Silver) and the'yre there. So visibly this info had been "salvaged" by researchers (Jepsen or whoever contibuted this info to him) and saved for posterity at a time before it may have got "lost" (for a time). And some renowned labels such as Contemporary did list the recording dates even on the original releases, starting back in the 50s.

SML, How You Been (International Anthem)

This is even more intriguing, because Monk cleaned up by now. Sonny was still a bit of a mess.Think Sonny stole Monk's comp for money to fix, or that he thought he believed it was his own writing?

The Jimmy Smith Doubletime 2-CD set, "A New Sound... A New Star...", has also never been reissued since that release except on CD in Japan.

Well, I guess that I should have been a bit more precise in my comments. While some of this information may have been lost at Blue Note, it wouldn't seem to be a major issue. We have exact recording dates for almost all the classic Blue Note sessions, even if a lot of this information wasn't included on the back cover of original EP and LP releases. From about the 1970s until the end of the century, we not only had precise discographical information included on reissues of classic earlier records but established jazz labels would generally include all of this information on new releases as well. Now, the situation has significantly changed in that regard and, as I wrote above, I worry that a lot of discographical information is not being saved for posterity at all.

While I do appreciate having the recording dates for the same reasons as John, I am a bit confused by his comment that listing the recording date(s) was a common practice in the 20th century. None of the original Blue Note LPs listed the recording date(s). For some reason, I remember reading an interview with Cuscuna where he said that until he got Lion's log book in the mid-70's, that information was lost. So it seems like Blue Note's practice of listing the recording date(s) on their releases was a Cuscuna thing & not a Blue Note thing as they didn't start listing those dates until Cuscuna launched the LT series.

Kelley was writing a book about Thelonious Monk so obviously, he was going to get their take on it. I find it a bit sad that Monk's estate decided that there was no way that Clark could have written this tune and that maybe, just possibly, Monk liked it enough to write it down for him to play later. They just found the tune among Monk's pile of written out tunes and decided "Clark was a junkie and stole it". What bugs me the most though is that even if it was written by Monk, no one knows if Clark stole it or if Monk gave it to him. Add to the fact that Clark recorded this tune in 1961, more than 20 years before Monk died and that Monk never played it himself nor said anything about Clark's version being his & you have a situation where no one should jump to "Clark stole it".

Ts-find, Symphonies 5,7

Starting off a snowy morning with a cd that I used to play to death but have neglected for a few years. It’s the amazing 1960 band of Charles Mingus with Bud Powell sitting in for one piece. Hard to top the ensemble and the compositions really allow for the incredible stretched out performances. Charles Mingus “Mingus at Antibes” Atlantic cd Charles Mingus – bass, piano Ted Curson – trumpet Eric Dolphy – alto saxophone, bass clarinet Booker Ervin – tenor saxophone Dannie Richmond – drums Bud Powell – piano “I’ll Remember April” Recorded 13 July 1960, Antibes, France

Ted Brown - Preservation (Steeplechase)

With Lucinda I'm re-watching Project Runway All Stars (season 2 currently, we'll re-watch them all). I'll have the house to myself for a spell today, hoping to watch the new Fantastic Four movie on Blu-ray.

Okay, from above, seems someone got to hear it and form an opionion...maybe that sombody could be kind and rewind and send it back to Blue Note....