AllenLowe

this is all very interesting to me and raises some larger philosphical questions - there is nothing theoretically wrong with taking tunes based on set changes and extendng them - how, I'm not always sure, however (though we can look to Miles's band as a model) - looking at the personnell on there, I know Joe Fonda can play changes - I've worked with him - but I tend to be skeptical about cause and effect -is the freedom principle the result of getting lost, or is getting lost the result of the freedom principle? I worked once with a very well-known new-music drummer who COULD NOT keep straight time, try as he might - and I tend to prefer the kind of musicians who really know how to bring it back and take it out - as these guys seem to be having trouble with on this (by the way that drummer had the same name as a famous American writer) - now ultimately the proof is in the result, no matter how they got there - I don't necessarily want to know if an abstract expressionist painter, for example, can do REALITY. But I'd like to hear someone like Larry Kart weigh in on this - Larry, you out there?

just wanted to add a good little anecdote here - before the Eastwood movie came out about Bird (which had a similar incident), Bill told me a great little story about playing an Orthodox Jewish wedding in Brooklyn, at which Bird showed up (I think they may have had some later gig) - Bird sat in with the band and, as Bill described it, one old man was so inspired by Bird's playing that he got up on a table and started dancing - wish I coulda been there -

gotcha -

He lives in New Jersey - his wife died a few years ago, but he's still going -

what are we talking about here?

I have seen a few non-Collectables Atlantic reiusses in a gatefold style, as I recall -but this is why it's good to hold onto those old LPs -

he also plays GREAT on the restored Tijuana Moods -

I love Bill, both personally and musically. He's a nut, but a loveable nut, and, in my opinion, one of the great post-war beboppers, whose sound was a very personal distillation of both Bud Powell, and Al Haig (his two favorites, as he has told me) - listen to his playing on the Mingus Debut with Mingus, Knepper, Maini and Danny Richmond, also on the Honeydew bootlegs - he plays well, also, on the Schildkraut CD I put out - Bill also helped a lot of younger musicians, hired them and nurtured them. He's a truly important figure in the music, and thanks for bringing him up. I need to give him a call -

it really has nothing to do with price - and is actually probably CHEAPER to just get the masters transferred, flat, with no processing. This is a case of a bad and poorly trained engineer - I understand what you are saying, but, as someone who has done a fair amount of remastering (I've done work for Sony, Rhino, GLobal Village, a few Japanese cpmpanies, for Michael Feinstein, for NPR, Ken Burns and a few others) I can tell you this is just poor judgement -

haven't heard the group, but heard Iverson play solo a few years ago - he was excellent, actually reminded me a little bit of Jaki Byard.

well, he's got other problems, but plays beautifully, and I have heard him do some convincing chord changes -

very good points and, indeed, part of the whole point of certain post-modern players is an edge-of-the seat imprecision meant as commentary on certain kinds of slicker-played jazz. With Murray, however, it does appear to cross the line into sloppines; that's why I mention Marty Krystal, who does it so much better. Get some of the Neidlinger stuff,which is great. Also, some years ago they did a great LP of Monk tributes -

What - we can't blame them simply because they agree to issue substandard product? All they have to do is tell Rhino to re-master - the Atlantic stuf has been done very nicely in other cases. The Atlantics they've issued with compressed anti-hiss and digital noise are a travesty, and include some of the most important music of the 1950s and 1960s - almost all from nice two-track masters. They're paying to license it and are obligated to maintain standards -

I'LL KEEP MY EYES OUT FOR IT -

got it - Dewey Redman is added -

Many people have complained about Phil Schaap's lack of de-crackling, de-clicking, de-noising etc in regard to the Goodman at Carnegie Hall. If there is interest I will pick up the CD and take, say, a five-minute noisy passage, do a little work on it (through CEDAR and digital EQ) - and offer it up as a comparison. No charge, maybe a little help with postage and CDR costs (I figure $2.00 each which includes disc/postage/mailers) - let me know if anyone is interested - I thought it might be fun, and I enjoy fixing up old recordings.

some engineer decided to de-hiss them, not realizing that ambient hiss is one of the nice thing about old open-reel recordings - there is no good de-hissing program, or at least none that can truly completely eliminate hiss without leaving other problems. The Dick Katz has a weird cymbal sizzle, and the Bob Brookmeyer big band has actual weird digital noises like the chirping of dying birds - AAAAARRRRGGGGGHHHHH! This is why I save my LPs -

be careful with Collectables - they really fuc*ed up the Atlantic reissues, which are full of digital artifacts from HORRIBLE use of noise reduction. I would hesitate to buy any of their stuff -

well, thank you - I take pride in my well thought out and carefully reasoned posts -

maybe we chould call this thread: "saving p ryan"

Marty Krystal lives on the West Coast, has recorded frequently with Buell Nieldlinger, and is, in my opinion, one of the truly great saxophonists -

great - there are certain cuts in which the solos are based on changes -

Lee Wiley - old Sugar, but Sugar just the same - (and I think she was the prototype for Veronica)

love that store - and I once got yelled at by Koester there, so what's not to like?

next thing you know, they'll insist it can only be tenor players who can see and breathe -