AllenLowe

that may be the latest Arthur Schutt recording available.

cleaning the house this week in preparation to move, and found two sets of my 36 cd set That Devilin' Tune: A Jazz History 1900-1950 that were intended as promos - the seal is broken but these are virgin CDs and each 4 volume set includes the full text of my book - as well as a total, as I said of 36 cds - will sell each set for $140 shipped in the US of A. My paypal is alowe5@maine.rr.com

why wouldn't he announce Mercer as the composer if he had done it for tax purposes? Otherwise he would be admitting to having broken the law.

I include all the secret wars that US intelligence has waged. Gets very complicated....

in musical terms - jazz, blues, country, rhythm and blues, rock and roll - WW II is the line. From all I have listened to, which is a lot.

I had bought a CD version of Jimmy Rushing of The You And Me That Used to Be - in decent sound, though not nearly as good as the LP; expensive now; 3 months ago I found it after having lost it for maybe 5 years; put it in a box; then lost it again; I found it last month. And I think I put it somewhere where I can find it again. Though the LP is way better, sonically. Though if you asked me, right now, to locate it, I am not sure I would be able to. But I am pretty sure it is in North America.

McPherson is capable of great lyrical playing - but I really prefer when somebody lights a fire under him. There are some things with Mingus, usually in live situations, where he exceeds himself. as for Hillyer, a real great one when he was healthy; there are some fascinating tapes of Clarence Sharpe form live sessions in NYC in which Hillyer really hits his stride - at the 2nd annual Barry Harris concert he had Hillyer and Tommy Turrentine doing a slow ballad duet on Star Eyes. It was really....precarious, though they made it through. At intermission I ran into Hugh Lawson and he said, very loudly in the lobby, "those two guys are FUCKED UP." sadly it was true.

I gotta say, I like that.

true story - Jazz Panorama reprinted a Jazz Review DIck Katz piece that was critical of some 1950s Benny Carter recordings; I mentioned this to Dick back in the '70s when he was working with Carter, and he flushed and said "oh shit I hope Benny doesn't read any of that."

that Criss, IIRC, has some of the best Barry Harris on record that I have heard.

I'm keeping my cds as just cds, keeping my turntable, transferring LPs to CDR as necessary, and restoring everything by hand. Cds really don't take up that much room and they are best, to my ears, in my cd player to good speakers with a proper eq (and it is shocking how virtually every reissue I listen to needs re-eq'ing; engineers are, in this sense, clueless). But that's the way I like it, it's like living in a living library. I can fit all my cds, transferred to little plastic sleeves, into one moderate sized room.

well, not sonically superior, it's just more enjoyable to listen to. And no, it's not quantifiable; it's a sense thing, cannot be measured in a lab or within mathematical paramaters. Like the unconscious mind. Seriously.

ultimately, in my opinion, the differences between CD and Vinyl are more difficult to quantify than sampling rates and frequency response. I have lotsa both; in long-term listening, I prefer vinyl, but listen to CDs more because of convenience. It's not just the source but the delivery system, the A to D and the D to A. Vinyl sounds better outside of the lab, with good equipment and naked ears, distortion and surface noise or not, and no headphones. No question.

I gotta admit, I hate the title. Sounds like a bad pulp novel.

just to add, a lot of problem with older issues of everything - CD and LP - are related to bad eq'ing; when I had my business transferring LPs to CDR (using CEDAR) people were often astounded at how much better my transfers from LP sounded than the original LP - it helped to have a good turntable (I have a VPI like Jim does) but ultimately what did the trick was the fact that I have (well, had; having problems now with HF hearing loss) better ears than about any engineer I have ever worked with.

analog is higher maintenance - but, I have found, digital is more prone to surprise glitches, things dropping out, odd noises, etc.

yes. good news.

we have to differentiate between the source and the playback media - meaning, if I had my way, enough money, etc, I would record on tape, 8 tracks with really wide tape at 15 IPS and no noise reduction - BUT - I would master to CD, at 24/96 before going down to 16/44; I would not master to vinyl for the reasons that Jim mentions - I love 24/96 multitrack as a a recording format, but if money and time were no object, BIG tape would win every time, with Dolby S if had to use noise reduction. and of course the kind of music would effect the results - acoustically recorded music versus isolated, booth-recorded, tracked music, which loses huge amounts of presence, harmonics. and warmth.

Jim - great minds think alike - the beginning of Monk's solo is amazingly unique - I had actually talked about this on Facebook, forgot I had not mentioned it here - in all of this, Monk seems completely re-energized. Possibly the presence of a non-Rouse-ian soloist to goad him on.

the only time I saw Paul Jeffrey was in a small Duke Jordan band at Gerald's Cafe in St. Albans, middle '70s. He was obviously a good musician but not very inspired as a soloist. One of those guys who plays all correct notes but kinda dull. He sounds a little better on that clip, though. Still, never quite seems to get going. he sounds better on this: (WAY better than Rouse; but still seems stuck at time):

yes, very reverberent room; also, the engineer should have done more close mic'ing.

yes, all of the above - particularly C Sharpe. Forgot about him.

I absolutely love the school of sour-toned alto; McLean, Sonny Red, occasionally Ernie Henry, Quill when he's high enough, and me when I forget to tune.

it grows on you - like a fungus.....

sorry, didn't realize there was a discussion going on - the reason I feel good about this piece is because I feel like jazz musicians rarely do gospel and/or blues really well, at least in the old-style sense. And this is one of those performances where the quality of the musicians happened to fuse with a particularly inspired night to produce something which evokes the sense of the real old-style gospel better than anything I have heard in a jazz performance. Particularly the interaction of the 2 trombones, and Darius' closing solo (I take the first alto solo; if he had gone first I would have sat this one out) - apparently not for all tastes, which is fine. But I do get great satisfaction at organizing performances like these. as for the need to 'keep ahead' - anybody who knows me knows that I have never really worried about things like that (well, I worry about, it but in the end I just do what I do).