AllenLowe

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 -

"How could a list of inside/outside tenor greats not include George Adams and Roland Kirk? " good point, but these guys are insisting on only the living -

Benny Wallace Joe Lovano Sam Rivers Von Freeman Fred Anderson Ed Wilkerson Wayne Shorter Warne Marsh John Coltrane Ellery Eskelin Ira Sullivan Sonny Rollins Allen Lowe (when he has time to practice) Archie Shepp Mary Krystal well, the only dead guys in that list are Trane and Marsh, and though I'm not feeling that well, I'm still here. So that's a good start - I'd give you more, but I have a day job -