AllenLowe

I've never heard the titles, but I believe Ursula Oppens plays his piano pieces somewhere.

I am transferring a big chunk of my LP collection to CDR, and finding out that certain things that came out on CD sound better on original LP release (no big surprise); hence I picked up the Columbia double-LP of Bird, "A Night in Birdland," which I must admit I discarded some time ago. Glad I got it back, only 4 bucks. Also has nice notes by Dan Morgenstern.

well, you guys summed it up. I would only plug my 36 CD set, Really the Blues? which has pretty much something of everything.

I think they're sending you my cards.

my MacBook Pro will sometimes refuse to eject; but it always starts working in a while.

makes me wonder if they did this because of problems with the SL.....

I'm using my 900SL continually this summer to transfer all these LPs (so far about 300). It's doing fine but I am having some problem with the eject, which occassionally fails; worrys me greatly; especially since on the MK II they seem to be using a regular tray instead of a slot (I think, from looking at the pic).

oh, I getcha now. No, as long as the transfer was lossless and it was saved/replayed as a wave. I have no problem with putting it on hard drive; I've just had more hard drives fail than CDRs.

how about early Etta? I like her.

well, in most cases the digital re-mastering I did sounded better than the original. But it was still on physical media - CDR. I prefer doing everything in real time; it reduces errors and forces me to be a bit more careful.

I'm actually in the process of transferring about 1000 lps to digital as something of a public service - but also so I can have access to them more easily; there are MANY LPs that were made from sound sources superior to what was put on CD. And once these are gone they are gone. It's more than preservation - some of the sound on these LP sources is astounding, going back to the '20s on major lables like Odeon, EMI, Victor, MCA/DECCA. etc. Properly transferred and eq'd (and the mastering eq is mediocre on nearly all of these) they are a delight to listen to. Back when I made about 1/3 of my living transferring LPs to CD for people, they were usually quite pleased with the results.

well, it was really the only thing that critics who didn't really understand or like Ayler could say and not sound entirely negative (not referring to Cliff but to the source of the quote as ESP used it).

I have a preservationist view of downloads; I am hoping that actual CDs will last longer than hard drives or other means of storage. also, when it comes to VERY old music, the streaming sites I see are pretty indiscriminate in what they use as source material. This is, I think, a huge problem. It's like going on line and downloading a washed-out print of Picasso.

I probably shouldn't put him down; he meant well; I just get bugged sometimes at certain kinds of critical phrasemaking.

gotcha; I think I read it wrong.

Larry, I wasn't seriously suggesting Henderson; I was only responding to your response to my response that he was a very good B'way arranger; you seemed to think that I was putting him down for being that. on the other hand, he makes as much sense as Charles Lloyd.

looks interesting though I cannot answer your question; I only note the following, on that page, as a typically dumb critical comment from one of those who doesn't really get Ayler and so substitutes his own inadequate perceptions: "Tonally, Albert's horn was the closest a saxophone ever came to resembling the soaring feedback of psychedelic guitarists Jimi Hendrix or John Cippolina of Quicksilver Messenger Service and brings to mind pure electronic sound waves as produced by the Theremin." now there's a critic who doesn't even realize that he is comparing apples to apples. And who only needs to listen to half the tenor saxophonists of the 1930s to realize that virtually every one of them was doing the same thing.

just as an aside, with Field Recordings (and also my blues set), there was an overwhelming preference for actual CDs over downloads. I think, however, part of reason was that I priced both of them so as to make it cheaper to buy them than to download. now I do have a limited (though faithful) customer base. But this kind of approach (plus taking care of business) has allowed me to create a situation in which I can almost always beak even very quickly, and then make a little money. for little guys like me that's very encouraging.

actually I wasn't damning with faint praise; Henderson did great work on shows like Ain't Misbehavin, which was way above the usual; more than a craftsman. And had a very interesting career. and Barbara Carroll is a great pianist; there is a Bluenote LP she did (late 70s? Early 80s?) which showed how well she could still play and how well she had kept up with harmonic developments.

I got two Sullivan discs in mine; one must be his.... just kidding of course, and I am amazed by this stuff. Sullivan remains to me the free-est bebopper ever. Wow; just a master player and one who could show Wynton and the gang a thing or two about how to keep this music real. Love Russell, as always. Another good example (at least to me) of how to use more open concepts in a way that keeps them from bogging down with free-jazz cliches. both of these sound like they could have been made last week.

feels like a bait and switch, but maybe not; I just can't seem to get that gift card. I also think Google does better searches. But who knows?

actually a better choice than some. Good solid Broadway arranger.

the Jamey Aebersold choice is silly beyond belief. The Lorraine Gordon one is....bizarre. Of course, the Marsalis Family needs the money. In this spirit I nominate The Osmonds.

as always, I agree with Valerie; as long as Herbie Hancock has already won.

I have no doubt he is a fine saxophonist; it's just that at the master level I feel it's gotta hit another dimension. I would even question George Coleman, as great as he is.