Chuck Nessa

Good answer. Why not play it on a 4 track machine for even more flexibility? I know the answer which is the same as the reason to avoid a simple stereo playback. FWIW, I think the highest quality transfer can be made by transferring on a full mono machine and patching problems by picking undamaged bits via multitracking. It takes more work but pays sonic results. You do have to deal with matching tape noise beds but it works very well. I certainly hope someone is paying for high quality copies of these original masters as they whip by the tape heads. I told you he'd have an impressive answer.

Producers are the guys who are supposed to direct the engineers. Done plenty of this. I'm sure SH will give you an impressive answer.

I beg your pardon....................... Why are they playing a mono tape on a stereo machine?

Up for any possible input. Thanks.

Gee Jim, I thought you could toss this off the top of your head Some days Jim can't find the top of his head. Me too.

SHIT, the boobs popped in my hand!

My real argument is why should anyone get free stuff from people spending time and money to generate the "stuff". My argument has little to do with me. My passing along this info for free is another discussion.

I would hope most of the folks in Holland, MI would retire. This entire community scares the shit out of me.

Clem, your might have "stepped on your dick" here. I believe the Chess/Aristocrat recording was a cover of Baby Face Leroy Foster's recording (with Muddy and Little Walter) on Parkway done a month earlier. Little Walter always claimed authorship. Delmark issued this on vinyl (DL-648) and cd but I strongly recommend the lp - they robbed the cd of the recording's soul.

Don't wanna burst any bubbles but I'd say "a fraction of a generation". Numbers can be argued and really don't mean shit. Are you being as ironic as I was? Didn't notice your ironic smiley.

FWIW, I keep my printed discographies (and even buy more) to crosscheck the data.

I provided information for you from the cd-rom of Walter Bruyninckx work. It is a PDF file and can be updated and edited if you have the software. Rust, Jepsen, Bruyninckx, Rabin and many others (earlier and later) have invested years of work in this and need both recognition and payback. Discography is a time intensive and exacting task. I started my record company in 1967 and started answering letters from discographers a year later. I'm not sure you have any idea of the work and expense involved in building the database now being expanded. I find complaining about the lack of free/easy info and offering some sort of "free will offering" insulting to these fine researchers. FWIW, the DESOR information would be still in it's infancy without the earlier, exhaustive work of Massagli, Pusateri and Volonte supported by their customers. This age of instant free information can be disturbing to some of us who paid for the data and now feel the need to be a "good guy" and provide it to others. I can't imagine how Brian Rust or Walter Bruyninckx would feel about it.

It's in most of the discographies. Please buy one. I probably won't. But rather than explain why here I'm going to start a new thread re: printed discographies on the discography thread. You're welcome to attack me there. I didn't get this from a "printed discography".

Thanks Mark.

Interesting.

It's in most of the discographies. Please buy one. Ornette Coleman (as) Dewey Redman (ts) Charlie Haden (b) Ed Blackwell (d) Concert, "Berlin Philarmonic", Berlin, November 5, 1971 Street woman (Lonely woman) Unique Jazz UJ-13 Song for Che - Whom do you work for? - Rock the clock - Happy house (Written word) - Broken shadows (unissued) Unique Jazz was a boot label with a "sister label" called Connoiseur. They had dozens of issues. I find it disturbing to see these on a "legit" download site.

Don't wanna burst any bubbles but I'd say "a fraction of a generation". Numbers can be argued and really don't mean shit.

Maureen Sickler (Don's wife) has been doing Rudy's "prep work" for a number of years.

Geez, if I'd known Randy wasn't playing I'd have made the gig. Tim's a terrific drummer and I do wish I'd been there.

I probably picked this up before you were born - no cds then.

Hey Roos, if you examine Jim's link, it tells us her name.

Never paid much attention to Dylan so I won't enter the discussion beyond saying I saw him 3 times. In 1966 I was on a northbound Clark St bus (Chicago) with him and Albert Grossman. I thought he was withdrawn and pretentious. I was leading them to some club and dropped them there. Next I saw him in concert with the Band circa 1974 in Boston and remember it as a terrific public performance. About 5 years (?) later I was at a day long taping of a PBS tribute to John Hammond. Most musicians (Basie, Goodman, Sonny Terry, George Benson, etc) watched the development of the show. Dylan spend about 12 hours in the dressing room. This did not impress me but his set was fine.

It seems he's making a post disaster film. Anyone have any info? Thanks.

Probably a reissue of: Terumasa Hino (tp) Eddie Daniels (ts,cl) Masabumi Kikuchi (p) Kunimitsu Inaba (b) Motohiko Hino (d) Tokyo, August 4, 1968 The strut Takt (Jap)XMS10005 Thirsty soul - This is new - Whistle moment - Giant steps - Why did I choose you -