AllenLowe

"I miss that sweet baby Zoe!! I bet she's fetching a ball as I write this." is that the kid they keep locked in the closet? I was afraid to look -

actually, it was not complete pap in that interim period before the Beatles - there were some very good surf bands out of the west coast, also the Wailers (a great band, admired by Hendrix, they were the first white band to do Louie Louie; part of an excellent Northwest rock and roll scene); Link Wray was making excellent records for Columbia (his version of Ain't That Lovin You Baby from, I think, 1960, is amazing); also the Kingsmen, punk before their time. Bobby Fuller was excellent, the Fendermen. Some good stuff.

I hope you brought a knife (why is it that all of his stories seem to end in knife fights?) I will say that Tango Zero Hour was an absolutely life-changing album for me; I actually recorded an entire CD inspired by it -

"one of the patrons, who I assume was expecting the usual fare, had a rather different reaction, becoming increasingly agitated and shouting obscenities, until eventually being escorted out by the Austin police. " wasn't Chuck living in Texas then?

I actually have it on good authority that Stanley Crouch is an admirer of Piazzola's work - he sat next to a friend of mine at a Piazzola concert years ago in NYC and kept saying how great the music was- so Larry may indeed be right -

I've never heard him in person, not a big fan of the singing but sometimes it's interesting - I do, like Chuck, find the piano on some of those older things intriguing - however, a friend of mine and great bassist from Connecticut, who used to work with Allison on tour in the 1980s and 1990s, told me he always got lost when playing through the changes. Sometimes that happens when too many years are spent away from certain kinds of playing -

"The thread asked for recommendations. Who cares that you can't hear the music?" I care - when it's Larry Kart, I listen, and you should, too -

in that case it's ok - apparently, from what I've been told, even if the copyright law is changed, 1959 will be ok -

the cd says 1959 - is this incorrect?

he was a genuinely nice man.

I've heard a rumor Arlen Specter will be there - also Frank Rizzo. or maybe it's Phil Spector and Jilly Rizzo - or maybe Hannibal Lecter and Ratso Rizzo - actually, I'm not sure -

1) thanks Dan - that's very good news, especially the early dates - I will go back to the email you sent me with the attachments and let you know if I have any problems - 2) Ubu - I ended up going with a Hodeir/Kenny Clarke piece, the Squirrel from, I think, 1956, that has a great Solal solo on it (say that fast) - apologies, I know you went out of your way, thanks; the nice thing about the Squirrel is that I was able to have one cut with both Hodeir and Solal, saving me some precious space (you would think 36 CDs is enough; I could use about another 5). The Solal solo, by the way, in 1956, reminds me of Paul Bley about 10 years later. also, btw - I know you probably don't believe me, but I will get finished dubbing that Helen Merrill LP soon -

let me know - I'll also do a little research -

Dan - I don't have them in front of me now, but I believe the Baby Face is from after 1959 - the record company has ordered me, unfortunately, to stop at 1959 (complicated reasons) - it's killing me because there's a bunch of 1960 stuff I wanted to use, including Max Roach/Abbey Lincoln, Jaki Byard, the Wailers, Gunther Schuller - the good news, organ-wise, is that I have some Jimmy Smith (a Percy France cut, so I am very happy), and a Jack McDuff/Willis Jackson - but nothing's as good as the Brigitte Bardot (I think I spelled it right this time) - of course, that may also be good news, organ-wise -

Larry, have you heard Tango Zero Hour? take some methamphetamines and put it on the CD player - but do not operate any heavy machinery -

well, I'm about 2 months ahead on my re-mastering so will begin to show my head here again - because of the potential change in Euro laws, the record company wants to get this thing out by Fall - I think it's actually the most interesting project I've done - will probably be able to post a final list within about 2 weeks - about 1000 cuts, 36 cds total - have to finish the notes, which will be relatively brief (as in relatively short notations per song) - thanks to everyone who has assisted with info and other assorted help (Weizen, I had to send those two hookers home, but thanks anyway) - it's amazing what one semi-offhand remark will do to a guy with ADD - but it only cost me about one year of my life - ny favorite discovery: blues recorded as the soundtrack to an old Bridgette Bardot movie -

"Why does the problem of harsh treble sounds on transfers specifically affect old 1930s/40s jazz? What is it about recordings from this time that causes the problem?" I believe it is due the fact that they used so few microphones to record in those days - so everything is much more complicated in terms of balance. There is probably a more complicated tech reason for this, but it seems that even two-track recordings with multiple mikes are easier to eq, post-production. Somehow I have the feeling that the separation of instruments at the initial recording stage, even if instantly eliminated in the "live" mix, gives them more of their own isolated sound and makes them easier to adjust in the mass - while recordings with one mike and multi instruments seems to make it harder to isololate a single one in terms of band width - hope that makes sense, as I'm up to my ass in messy 1920s blues recordings right now -

there's also whistling on some old blues masters - Viola Lee Blues, by Gus Cannon, has this - I took a good transfer and notched the very end, which is noisiest - it doesn't disappear, but it can be cut by about half, I would say, and if you're careful (and you need a very good, probably digital, notch filter that can go down to a width of 5-10 hz) it is relatively unobtrusive. I found this on a few Victors cut from originals that are on some very good older Japanese reissues -

popping in - as I'm in the middle of a major re-issue project right now - one thing I've noticed is that old recordings regularly need a boost above 8K to "open" them up, get more needed highs - but in the process a certain shrillness results when frequencies in the 3-6 K range are boosted at the same time. What I do is 1) boost the old recording at about 8-11 K and 2) THEN go back and use a notch filter at the lower frequencies to get the shrillness out - it takes about 3 times longer per cut, but results in much better sound. My guess is that most engineers don't want to go to the trouble. But the results are gratifying; the other solution that lazy engineers use is to just roll off everything in the upper frequencies - also not conducive to good sound - over and out -

don't tell anybody that I'm posting, but check out King Oliver's Victor recording of West End Blues from, I think, 1929, by which time he was supposed to be way past his prime. Oliver sounds amazing on this, powerful and assertive - musta been the bennies -

I couldn't agree more -

jeez, every time I think I'm out...but I had to say something here - monitoring it all with interest; no surprise that I never found myself offensive, I actually thought I had toned it down considerably for several months - be that as it may, a suggestion for Jim: why not formulate and post some new guidelines, to protect yourself/the band/and the board? (eg, no repeated posts - ; I actually took you up on that suggestion). Maybe suggest certain kinds of language that should not be used, etc etc - because I tend to think that, given not only the different backgrounds and native languages on this board, people easily misunderstand certain kinds of approaches and tone. Honestly I feel a little clueless these days (as I thought I had actually reigned things in but apparently the perception was otherwise) but would be helped by such guidelines, as it would, by implication, let me (and others) see how things are perceived. of course there's a difference between taking offense at tone, and taking offense at the substance of what is said, though I know they are often tied together. The problem as I see it here is that sometimes the very opinion is considered to be offensive, and there is no way around that, no way of saying it in a way that won't piss people off. But sometimes people are so pissed of by the opinion that they take it as offensive in tone and attitude. And this, particualrly on a board as freely expressive as this, is a difficult if not impossible thing to counter. just (another) parting thought -

strange coincidence Mike - I just picked up that CD about 2 months ago. Good stuff.

he's great until you disagree with him; the money used to access the view you describe could have been used to fund every jazz musician in the universe. I'm already home, and I have been practicing, for 30-40 years; and I have been an advocate for jazz since 1968, when nobody else was doing anything. big fuckin deal. Bill Triglia was a better advocate for jazz than Wynton. Someday I'll tell you about the response I got when I wrote a long letter to JLC, years ago, suggesting that they honor guys like Bill and the whole second generation of beboppers who had slipped into neglect and decline.

found the VHS that Julius gave me, but have no way to play it - I will call a guy I know this week to see if it can be transferred to dvd -