AllenLowe

I really was there - and I saw Ornette's band with Haden and Dewey Redman, and Mingus with some other players, I guess (hey, I was 15). I also, and this is true I swear, saw Jean Genet there on the night I went to see Mingus. great place to hear music. they don't menton that it was a very scary neighborhood; at the time the Hell's Angels were running things, dealing drugs, beating people up, throwing people off roofs. Their HQ is still there (as a matter of fact Matt Shipp lives right in that neighborhood).

there is a lot of very nice clarity on those site samples, on the horn - but whatever is going on with the drums is not going on in other sources I have. Once again I don't know if that's what the finished product will sound like, but it's too much money for me not to be certain; especially when I have a lot of the Dial from other acceptable sources (and the Garner I can do without; his solo playing from this era is a bit florid).

oh....no. Too sad.

yeah, as I said, my main concern is the way those samples on the site have the tell-tale weird digital compression/gurgle/artifacts; it's a lot of money for me, and I would feel better if I knew what the finals sounded like - JLH around?

The Dodos are decent but I am assuming that they will be improved on this as the sources appear to be better; or maybe not. At this point I am not sure what I am going to do; if I can be reassured that the box will not have what has been discussed above, I may pick it up. Not sure yet.

I'm gonna have to say, after running downstairs and listening to the Savoy - Complete Dial and Sony masters that I will probably stay away from this unless it can be explained why the drums are such a mess on Cool Blues on the Mosaic, whereas they are absolutely fine on the Complete Dial and Sony Masters; I also, btw, hear this strange digital artifact response on the Dexter Gordon that's on the web site. I have a feeling that, if these are what JLH had to work with, someone did some real (processing) damage before he got to them. though it is possible these are just the compressed files; but that really should not cause this kind of thing.

though I am going to say, after listening to the samples on the site I am worried about the drums on Cool Blues; it's weird, but sounds like digital artifact; I'll have to listen to another source tomorrow.

yes, I am getting this. Particularly for the Dodo and the Sonny Berman.

sold, thanks

de hiss is another matter, yes, and the source of some of the most disgustingly bad work I have heard; though even the cheap de-hiss programs are quite useable if you ignore the auto-settings and work them by hand and frequency. by the way, I think it is likely that the "swooshing" you are hearing is related to problems on the original recordings, with phasing and mic placement. In which case there is no way to eliminate it short of notch eq. And even that would probably not work.

just a word on CEDAR - it takes ears, but it can be done right without distortion or attenuation of the highs; I say this from about 15 years experience and thousands of hours; also lots of Mosaics used CEDAR (when Doug Pomeroy did them, that I know) but yes, the really big clicks and pops usually have to be done by hand, either by whatever process you are using or by going right to the wave form.

had decided to keep these, but just picked up a pair of Omegas, so will sell - $100 plus shipping CONUS -

to me, Jason plays extremely well on a personal, musical level; it's just that he plays a lot of very dull music. This may seem like a contradiction, and it probably is; but think of all the musicians who did their best work with Mingus and whose own sessions meander. As I've learned as a bandleader, you gotta give musicians something to play that brings the things out in them that need to be brought out. Also, it's appropriate that he plays with Charles Lloyd, who is the master of second-hand creativity.

there are no implications, racially speaking, that I see in his initial thread - except those I just mentioned. It's mistaken to see this whole thing as a search for a white hope - it's simply an inquiry about reality.

only thing I will say on this: race is significant but primarily, in regards to what Leeway says 2 posts up, IMHO, because of the dichotomy largely created by white liberal critics, not the musicians or the music. It's that old bug authenticity, and it leads those critics to create false distinctions that lay along racial lines; not saying that musicians are not aware of these distinctions, only that the true dynamic, as observed by fellow jazz players, has little or no relationship to the dynamic as understood by those white liberals. beyond this, I don't see this as creating a white hero myth; I see this as the problem that the jazz world - including critics - has in accepting, in an orderly way, musicians who do not fit into direct categories, either by style or race; I have seen this in some of my own experience; the 'outside' musicians think I'm too conservative, and the 'inside' players are unsettled (with exceptions in both camps, of course). On the critical/racal side, lets face it; if my blues CD had been put out by a 55 year old African American saxophonist, it would have been hailed in the national press as a profound 'return to roots.' They love those angles. So this may be some of what creates the critical ambiguities about Motian. Because ultimately musicians are not, by and large, any more anylitical than critics. And they often have their heads up each other butts.

these are terrific speakers; I have 2 sets of PSBs, so these are going. They have maybe 4 hours use, and are in very good cosmetic shape. $100 plus shipping/insured CONUS - (new these are $299, and these are basically new) - they will probably go on Ebay in about 2 weeks if I do not sell them here - I don't check this forum much any more, so please email me at allenlowe5@gmail.com

I am extremely offended by the reponse to my post, which really distorted not only what I said but turned it into something demeaning and nasty. However, if you feel that those of us who take the performance of jazz and improvised music seriously, as something of a sacred mission and deeply personal expression,and, yes, as an ART form, are deluded and snobbish, then what the fuck are you doing here? I have really had it with the lack of respect and the snide crap that too often passes for discussion on this forum, the passive/agressive crap of people like 7/4, and the general level of what appears to be something else but which amounts to personal attack (yes, you guys are masters of deniability). I have worked too hard for too long to be ridiculed and snidely dismissed, as though I am some kind kind of ivory tower, detached, distant observer of this music. So go fuck yourselves, this is my last post here.

I am not belittling anything but her jazz singing; I actually have heard some of her songsterism and it is quite lovely. she is not a jazz singer, but that does not mean I find the area of her talents to be inferior to jazz; just different. Many jazz singers could not sing it nearly as well as she does. what annoys me is the sense of dabbling; the dilletanish-ness of her dip into jazz. For some of us this music is a serious thing and it is frustrating to see it minimized.

beautiful performance. it's a complete shot in the dark, btw, but I thought of Walter Bishop for the piano on Our Love is Here to Stay. Mostly because of how convincingly Bud-ish the chord voicings are, as well as the way he approaches his solo.

whenever I record a second take because I didn't like the first, the first always turns out to be better.

you're right; I am sure that in singing The Nearness of You she was trying to create a fusion of post-modernist opera/country/hillbill/rock/gospel/emo techniques. Silly me, I missed all the signs. as for her style....she sings pretty; as I said, Iike the non-jazz stuff. Not sure she really has much of an individual style.

I did like their "overfunded public school forced to add jazz band" : http://www.theonion.com/articles/overfunded-public-school-forced-to-add-jazz-band,5919/

I care about everything.

that has, 7/4, nothing to do with anything I said; she was trying to be a jazz singer; she failed, in my opinion. As for phrasing, c'mon Scott; you really thing that, as with Monk, she has found an ingenous way around the traditional way of showing harmonic rhythm? though, as for Monk's phrasing, I honestly don't remember a single critique based on that aspect of his playing. We're gonna need examples. As a matter of fact, Teddy Wilson, in the middle 1940s, called Monk "a rhythm master."

yeah, I find that version of Nearness of You kinda.... repulsive, hate to say. She has a lovely and pure voice for more folk-oriented things and country, but the jazz things like the above just sound to me like junior miss jazz. And she has that amateur tendency to think that nasality makes it funky. and no, I wouldn't compare her off-phrasing to Monks; different world.