lipi

I think I'll hold off on confirming or denying too much for now (except perhaps saying that you did very, very well, Thom!), but I want to comment on a few things. l p has got it. Thom, have another listen (if you can stomach it!) and tell me what you think. There's more there to discover... Thom's got it! The soloist you mention was only 19 at the time, and his solo became de rigueur when playing "Flying Home". I suspect it's one of the most copied soli in jazz. No, it's the real thing. Pre-WWII. I found it interesting to hear you talk about the bounce that bothers you and which recordings trigger it, Thom. You should both listen to track 8 again (if for no other reason than that it's awesome...) and see if you can agree. One of you is right.

Amazing automobile styling. I'm glad you liked this one. Not Dr Michael White. This one and the preceding two (21 & 22) share a geographical connexion. Did you recognize the tune, by any chance? Don't I know it! This isn't the most recently recorded track on this BFT, but it's definitely the most modern. It's a miracle I manage to enjoy it. The pianist is not someone most people here will have heard of, I suspect, though he has written at least one non-jazz composition that many will know. "with not much originality" is more accurate than you might think, but in a very interesting way. I'm curious to hear your ideas, even if you think they're not correct. I'm particularly keen to hear what this reminds you of or in what direction it sends you. (I had a hard time picking this particular recording (over some others), and I think I might have picked better. That's not intended as a hint, BTW.) Yup! I love this album. I heard it before I heard it before I heard any Bessie. This particular track was (and is) played a lot at swing dances. Wendell Marshall on bass and Joe Marshall on drums round out the outfit. I'm really impressed you remembered all the horns. (I wouldn't have been able to remember them or recognize them, and this is one of my favourite albums...) Not Django. Hardbopjazz recognized the artist on this one immediately, though he didn't mention the title of the song. This is a famous Balkan tune, usually played as a waltz. Thank you for playing, and I'm sorry I didn't have more for you to guess at. Looking forward to seeing what you contribute to the discussion later in the month!

Mine, too! I had to replace it, because it made me jump up and look around frantically when I heard the actual recording... Great minds think alike? Small minds think alike? Unclear. It is indeed! It is indeed "C Jam Blues", but it is not Basie as you already realized.

Happy New Year! Here's the DL link for BFT 130, kindly hosted by Thom Keith (thanks!). http://www.thomkeith.com/bft130.html I arranged the tracks from "easiest/best known" to "hardest/most obscure". As far as trying to identify artists: If you rated yourself a "1" in the sign-up thread, then I suggest you focus on the first 13 or so tracks. If you rated yourself a "5", then I suspect the first 6 or so will be obvious and 7-18 will be more fun. If you rated yourself a "9", then I suspect everything but 19-24 will be fairly obvious. Special rule for this month: if you rated yourself 4 or higher, please don't identify the first six tracks. You may say things about them in veiled terms, but don't identify them until the 1's have had a fair shot at them--let's say at least two weeks. (If you rated yourself a 9 (or I rated you a 9...), maybe do the same thing but for 1-18 or so?) Have at it, folks. Feel free to say mean things about the music if you have trouble identifying anyone. Or nice things. That's fine, too. Discussion is more important than getting things right.

Papa Jo? Story, please! And since we're sharing silly personal anecdotes: I sort of froze up and didn't know what to say when I met Joan Baez, so I ended up saying embarrassing things like "my mom really likes you!" (which is true, but so do I!). (For the record, she was very, very sweet.)

Happy new year! I'll post the BFT in the next day or two. So far I have: felser (4) Thom Keith (1) jeffcrom (9) mjazzg (1) Hardbopjazz (shy about rating himself, but I can take a stab based on the username, of course) Bright Moments (5) Hot Ptah (also shy) The Magnificent Goldberg (5) page (unsure) Feel free to join the party late, of course.

Though your username is a hint, you forgot to rate yourself on my highly objective scale! Speaking of cylinders, here's a painful video:

It's nearing the middle of the month, and December is a funny one with people disappearing for much of it. I am breaking protocol by putting up this announcement a bit early. Please continue discussing felser's excellent #129! (I am learning tons reading the thread. This will not surprise you once you read the low end of the scale below.) So. I like old stuff. All the music on this BFT will be pre-WWII, or pre-WWII in style, or heavily pre-WWII influenced. I have learned that there are two categories of people on this board: those who like old stuff and can identify EVERYTHING (you know who you are), and those who are scared of scratchy records and traditional time signatures (or time signatures of any kind, for that matter). I would like to run an experiment to attempt to please (and educate?) both groups. January's BFT will be normal length, but half of it will be glaringly obvious (we're talking "greatest hits of early jazz") to those of you in the first group. My hope is that you'll shut up and be quiet about that half for most of the month and let the people in the second group guess at these tracks. Meanwhile, you can struggle with the trickier tracks in the other half of the BFT. (You'll behave, won't you? Don't make me pull this forum over and make two discussion threads to avoid spoilers!) So. Wanna play? If so, please reply here, and, so that I can adjust the ratio appropriately, please rate your knowledge of pre-WWII jazz on this handy scale: 10 - My friends call me "Jelly Roll" 9 - My friends call me "Jeff Crom" 8 - My friends stopped calling, because I keep playing them snippets of Armstrong's Hot Five recordings 7 6 - I've seen that Ken Burns thing, and don't mind they didn't really go past 1965 or so. 5 4 - I've seen that Ken Burns thing, and I was annoyed they stopped when the good stuff started happening! 3 2 - I think Miles Davis was the greatest! 1 - I am offended by your clear hatred towards Miles. Don't you know anyone more modern to make fun of, you moldy fig?! (Apologies if you like Miles.) (Not very heartfelt ones.) (And, no, I don't really know anyone more modern. I stopped listening in fear. I hear there are some funny saxophone folks playing plastic instruments, but, like, whatever, they actually faced the audience, so they're still not as offensive as Miles.) If you want dead technology (CD), let me know. Yes, I am aware of the irony of bashing old technology while hyping up ancient jazz. I'm a complex creature full of paradoxes; I am large, I contain multitudes. That was long. Sorry. I promise the BFT will be shorter. TL;DR: if you want to participate in January, tell me how well you know pre-1945 jazz, and whether you want a CD or download.

Well, I think I stand no chance on this one. Thanks for putting it together, felser. I think I'll just sit back and quietly read the thread.

DL, please.

26) I have no idea who this is, but I was intrigued by the comments so far, so I had another (more careful) listen. I suspect, especially given your hint, that it's quatre mains. Oui? (But only deux are actually playing...)

Listen JSngry...first you make me buy that Hoss Allen Sessions Treniers thing, and I've been listening to that $*&# non-stop for the past two weeks, and now you turn me onto this hilarious blog that I've been reading for the past two hours. Gimme some peace, man! I have, like, work to do!

Thanks for doing this BFT, Noj. : ) I skipped all the stuff that didn't sound like my kind of thing (I admittedly have a narrow taste when it comes to jazz), so I only have a few guesses: 1) "Wild Cat Rag", Asa Martin, 1932. I mean, I would never have recognized this if I hadn't listened to this recently: http://www.amazon.com/gp/product/B000E6UK9Q/ It sounds "earlier" to me--it's very old-timey. It's not actually the kind of thing I listen much to. I can see crazy Joe Bussard stomping his foot along to this in his basement! I had to listen to it three times to identify it, and that's a bit much in a row... 2) "Echoes of Harlem", Duke Ellington, the 1936 recording. This was written for Cootie Williams, and you can hear him throughout. He makes that muted trumpet sound almost like a string instrument in the opening. Beautiful. 11) Is that Carmen McRae...? 25) Mr and Mrs Swing playing and singing "Smoke Dreams" in the late 30's. If the voice wouldn't give it away, the xylophone would. There are Norvo/Bailey tracks I like better, but this *is* a very nice one. I think this is an Eddie Sauter arrangement (flashback to BFT 94, where I needed to ID Sauter to actually get to McKinley--this time it was easier).

I'd like to join, please. : )

I am not sure what you are hearing exactly, but just a few quick notes. The Doppler effect does not play a role here. Source and receiver (the microphone here) are not moving relative to each other, so there is no Doppler shift. I am off-hand unaware of another physical effect able to change the pitch proper of a pure tone. However, what *is* possible is to strengthen or attenuate partial harmonics of a non-pure tone (and all tones you hear in music are non-pure--they're all combinations of partial harmonics, of a base tone and its "overtones"). In particular, lower harmonics tend to survive a lot better when bounced between walls or filtered between pillars and people and things. You shouldn't be changing the pitch of the tone when you lose harmonics like that, but you will certainly change its timbre. The echoes will be relatively rich in low partials, and poor in high ones. Another possibly relevant effect is flutter echo: sounds bouncing between two flat surfaces facing each other. If you clap in an empty church, you'll hear a few more claps--that's the flutter echo. The frequency of these is usually low (the echo repeats a few times per second), but I don't remember my Helmholtz et al. well enough to know whether that can have funny physiological effects. (In other words: I know the physics part, but I don't remember what happens once it makes it to your auditory cortex: can such an echo result in bizarre pitch bending perception? I don't know.) If you really want to figure it out, Rayleigh ("The Theory of Sound"), Helmholtz ("On the Sensation of Tone"--essential, but old-fashioned and hard to slog through), Sabine (various papers), and Benade ("Fundamentals of Musical Acoustics"--probably the best place to start) are your men. If you haven't really read much about the physics of sound and music before, start with Tyndall ("The Science of Sound") or Jeans ("Science and Music"), maybe, They'll start you off slowly (Tyndall especially).

Concerto is probably your best bet. They've been slimming down their classic jazz section in the past few years, but there's still a chance they'll have it. And if not, they can order it. http://www.concerto.nl/en

CD's and book arrived! Thank you!

PM sent on: Kid Thomas Valentine at The Tip Top (American Music 97, BRAND NEW SEALED) South Frisco Jazz Band - Big Bear Stomp (Stomp Off 1307) Charlie Barnet - Lonely Street (Lonehill Jazz, BRAND NEW SEALED, rec 1950s) Bob Havens In New Orleans (GHB 126) Swiss Dixie Stompers - Petite Fleur (Jazzology 184) Don Neely's Royal Society Jazz Orchestra - Roll Up The Carpet (Circle CCD-147) Blue Street Jazz Band - Goin' To That Mountaintop John Petters' Bechet Centenary Band - Blame It On The Blues (Rose Records RRCD1009) The Hotter Than Six Jazz Band - Cooking Up A Storm (New Market Music 1074.2) Clint Baker's New Orleans Jazz Band - Going Huge Recording The Blues by Robert Dixon & John Godrich (Stein and Day Publishers, paperback 1970, very good)

Seconded: Andra Jazz is great. And here's their website: http://www.andrajazz.com/ I don't buy vinyl (certainly not in Europe only to cart it back to California!), but every time I go to Andra Jazz (about once a year) I end up with an armload of CD's. They have a fine selection of used books, too. And their restroom is ridiculous--with musical instruments and stuff piled all around the toilet and sink.

Quick shout-out to Pete B. Books arrived, and were far more carefully packaged than most Amazon sellers manage. Thank you very much!

PM on its way. I'm claiming these, if they're still available: A Left Hand Like God - The Story of Boogie-Woogie Peter Silvester paperback, good condition 10 Bud Freeman Crazeology (Autobiography) Bud Freeman and Robert Wolf hardback, excellent 5 Coleman Hawkins Burnett James small hardback, vg 3 Fats Waller Maurice Waller & Anthony Calabrese paperback vg 6 Is This to be My Souvenir? Jazz Photos Timme Rosenkrantz Frank Buchmann-Moller hardback, excellent 15 Jazz Talk Robert S Gold hardback vg 5 Louis Armstrong Companion Joshua Barrett paperback vg 5 Pee Wee Russell The Life of a Jazzman Robert Hilbert hardback, vg, ex library 5 The Alto Saxophone, Trumpet, and Clarinet of Benny Carter Jan Evensmo, Per Borthen, Skovsted Thomsen paperback, vg 12 The Golden Age of Jazz William P Gottlieb paperback vg 5 The Trumpet and Vocal of Henry Red Allen (Jazz Solography series) Jan Evensmo and Per Borthen paperback, vg 12 The World of Jazz in Printed Ephemera and Collectibles Jim Godbolt hardback, g (jacket torn) 5 Someone get that Pops Foster bio already. It's *excellent*.

Digital files update: I exchanged email with Third Man, and their sales person (one of their sales people?) confirmed that the digital files are MP3's. Grumble. Sadness. Etc.

Ah, that makes sense. I didn't realize who this guy was. Thanks!

Without the intent of trolling, but simply because I do not know the man or the history here, why does White's involvement make it more likely they'll end up online? And do you mean online in some legal form or in a blatantly illegal one? (And, for the sake of this question, please, let us not quibble about Andorran releases versus Sony/BMG ones, etc. etc. etc.) If I'm opening a terrible can of worms here, just say "can of worms" and we'll consider the subject closed. )

One can just as easily say "Lossy? For these sources? I don't want to lose any more data!". It's not trivially true that a poor recording will suffer less (or more) by being encoded lossy. In any case: my main reason for wanting lossless is that I don't want to be tied to any one format. If I want to re-encode in funny-format-x, I want to start with a lossless file--converting lossy-to-lossy leads to trouble.