AllenLowe

What was he doing in YOUR pajamas? (sorry couldn't resist, given how you occasionally, on Facebook, like to point out awkward phraseology) -

I hope that's the speed-corrected take (which was done by Doug Pomeroy); the original LP reissue had them playing in the key of B.

actually, he's mean on the outside, but look under that rough exterior and he's.....still mean.

I think a lot of it has to do with his time sense, which is more pre-bop.

....and if you listen through this concert, there are some amazing points - part Tristano, part Nat Cole, but very personal (even though his bebop is strange):

that does remind me that the best Shearing I ever heard was at Newport, around 1975 or so. Nothing I have heard of him on record - or even live - since then comes close to his use of harmony on that gig (I remember a particularly amazing version of Django). Just in this sense I consider him one of the greats, and wished he'd opened up that palette on more public occasions. It's a real loss to jazz that there is so little documentation of this side of him. ....though interestingly enough, I do remember that my mother, a pianist, had a book of Shearing's arrangements of standards, and Over the Rainbow was quite amazing - somewhat related to Bud's re-harmonization but still quite unique. and holy moly, just in time for Mother's Day, here it is: https://www.youtube.com/watch?v=qs4y4pi6xzQ

I love that picture but I gotta say I hate that article, which takes its time in saying very little. It's a great picture because it is so damn touching - and it depends not on the art of its framing - I don't think technically it's a very good picture - but on its subjects. It's like if I took a random snapshot - and the subject turned out to be Bird. Anyone else would lose our interest - but it's Bird! so we are fascinated even if the pose, background, etc. are completely unremarkable, even banal (which, by the way, is very interesting to consider when we take up arguments of form and content, or when we battle over the question of 'pure aesthetics'). The picture is just amazing because these two musical giants so clearly love each other - and also, it helps to know (as Dyer appears to have no clue) that Webster was a great supporter of progressive musical movements (Dave Schildkraut once showed me a note, handwritten and signed by Webster, that had been passed to him in a club, that said something like "keep on doing it!").

I knew him a little in my NYC days when I practically lived at the West End and saw him regularly (as a matter of fact I was the one who got Richard Wyands on that gig that led to the live recording mentioned above, though I am sure that if you asked, Phil would take credit). Nice man, played beautifully, solid, gruff tone; also a good singer. I know he's not around here any more, but I believe Joel Fass worked with him a lot. Glad to see Kelly's name mentioned, had not thought of him in a long time.

really? Consider yourself lucky; but seriously, clearly an oversight. not to digress, but we are on a new promo program. Please message me your email.

huh; no I have never gotten a word from them.

just talking about Mosaic - I get lots of other promo emails - but never Mosaic.

interesting about the catalog and emails; I am a very irregular purchaser of Mosaics, but I do buy stuff from them; yet I've never gotten a group email or any kind of appeal or informational message from them (though I should mention that Scott Wenzel is a great guy and very responsive on a personal level). Even my crappy business model says that if you buy anything from me, or even just send me a query, you get on my mailing list, which costs me nothing to do (and of course if you request, I will remove you - maybe)........

some amazing Schildkraut on that; I have an unproven theory that Trane was listening, as some of his double-time figures were really new things and different than Bird's -

Larry: well worth it because the prior American CD reissues of a lot of the Condon and Bud Freeman Commodores were just horrible sonically; though the LPs were fantastic (and to show you how great minds think alike, I received my Condon Mosaic last Tuesday).

exactly; the only time there could be an issue is with multi-track originals; theoretically you might want to master from the original to get as close as possible to the source - but, if the mix is good, then the CD which represents the mix down should be absolutely fine. though as far as I know, most if not all of their product is from 2 track masters. good point, had not thought of that; if the plant tossed out the glass masters, there is an associated cost with re-doing them. Though it's not enormous from what I know - as for a thousand run, Chuck - I currently am able to make bulk CDs - real cds - (I assemble the art separately) for 45 cents per cd on runs of 500 which includes the glass; this has enabled me to do a lot of CD issues - are you paying much less than this for a thousand (and I am not asking how much you are paying)? If it's none of my business, no need to answer.

it's funny; when I was about 17 I went to hear Alice Coltrane at the University of Michigan. I wasn't quite ready for that kind of music - meditative, repetitive, slow-moving - and I fell asleep. Today I love her music.

there should not be any loss from the analog original if it is transferred properly in terms of converters, etc. Any digital copy should sound identical to the first generation analog - this is why bootlegging is such a problem in the digital era. If Mosaic - or Nessa - puts something out in pristine sound, I can clone it and do same. But that would be wrong, that's for sure. ***** ****Richard Nixon

they wouldn't need the original tape to re-create the 'mixes' because they could use any CD that was part of the issue.

I want it I want it

thanks guys. Gotta finish the mastering and the cover art.

thanks; it seems to have gone away once I posted -

I certainly hope we will get the first opportunity to gouge her -

(pardon the box above; that was in reference to a prior quote, don't know why the hell it is still here) just wanted to comment on two things - 1) re: the question of Mosaic buying the rights in perpetuity - not merely expensive but probably impossible in many cases; the majors do NOT want to discard these recordings, though, stupidly, they may never issue them - what's the old blues song? If I Can't Sell It I'm Gonna Sit on It. 2) re: Clff's concern about the Savoys - from what I heard of their samples there is a lot of noise-reduction distortion on those, done by the same bozos who messed up the Dial sessions; my suggestion it to buy up the individual Savoy reissues that are around on Ebay and amazon; generally VERY good sound. I feel the same way about the Dials; there are perfectly good remasters around from other sources (as a matter of fact a great sound engineer told me he wrote Mosaic a very angry letter about the Dial ef-up.)

yes, Chertok, thanks. Lovely guy.

thanks, Scott - and you got it right. It may be that my perspective comes from a time when we had so few of these things, when acquiring them was a lot of work and so they seemed particularly precious. The visual is still important to me; as I said, I want my students to SEE the music as well as hear it. as a matter of fact this made me think of something which actually argues against all my prior posts about sonics - about 30 or so years ago the business of showing jazz films started up when various people (like Mark Cantor and another gentleman who was a wonderful guy, has since passed, and whose name I cannot remember, though he was really the FIRST) started acquiring and showing them. And I remember thinking, as the sound was usually lo-fi on all of these, of how watching Lester Young play - and Coleman Hawkins, and Wardell Gray and Bud Powell, and...everyone else - gave me more of a sense of their artistry and presence than any record/78/CD I had ever listened to. So....back to the visual, I guess. I know it's a very different world, but that is part of the problem. In an age where anyone who can hold a saxophone has made 20 cds (including me, yes) the art is somewhat diminished by the volume of 'product' (a word I hate for obvious reasons). To me producing a CD is like writing....well, not a novel, but a novella or short story. It is an individual, shaped, and organized work of art. Which downloads, for me at least, can never represent. Somewhere there must be a Walter Benjamin essay which address this better than I can.