David Ayers

Thanks for posting that. I'm in! Last of the euromosaics...

"He was always on the verge of distorting, but he never did." Uhh...

Yes. I think someone asked about this above. Very exciting Tubbs!

I used to think that. I never used to think that... until I read this thread... and now I am beginning to think that maybe my life won't be complete, until... you know....

As you know I generally dislike nostalgia (Bev!) but in this case I have given in...

Well I thought that the Mole section at Harold Moore's had gone. My friend received an email about Mole but I doubt he still has it. So either this is just Mole is back at Harold Moores, or maybe never left, or it is a new venture. Dunno. When I visited the Mole section at HM's it didn't have much life in it - that's some years ago.

At the risk of starting an internet rumor... I heard that Mole Jazz is back in some form somewhere in Soho... but I can't get any confirmation... and it doesn't quite seem right...

What is their POINT? List of things to do: (1) topple Saddam and wreck Iraq (2) topple Lance and wreck a bicycle race (3) uh, now where's that Bin Laden character...

pure extent it's a menace alright

Off topic, but I wonder if there will be any more Selects. I had the impression that there wouldn't but then the Carter/Bradford came along. That was maybe a one-off though.

I think the session masters were there, which is why unissued material was lost. Copies of the album masters, which are the tapes mixed down for LP from the session tapes (with lovely RIAA curvature and all) obviously did survive in other copies, which is why the albums can be reissued from them, albeit without any extra tracks of unissued material, as the unissued stuff existed only in the studio master. Mind you, I did just have a quick look inside a couple of Atlantic Mosaics and didn't see any discussion of this issue.

I believe the masters of most Atlantics were destroyed in their warehouse fire. The CDs you hear are in general from the LP masters. That's part of why they sound less good than might be hoped. I wonder what the sourcing story is here?

Yeah thanks! I read that when it was first published and still have the text, though I had forgotten how interesting it is. The magazine (Inrockuptibles) also contains an account of Derrida's performance with Coleman, which was booed by the audience. Derrida noted afterwards that jazz audiences who claim to enjoy the sound of surprise don't care too much to be surprised. His participation, in which he read while Coleman noodled, was unannounced.

As Scott told me, they are "painfully aware of the problem". It has been going on for years!

Off topic. I'm no stamp collector but these Gerry Anderson stamps from the Royal Mail are cool, IMO. Anyone who does collect stamps can buy them here: http://www.royalmail.com/portal/rm/shop;jsessionid=MQRMXDLC5CODQFB2IGFUQEQUHRAYUQ2K?catId=9300091&pageId=shp_prdlist&category=cat97520007&gear=shop

No news here.

HB2U2011!

Thanks for the update.

I didn't want to play the Hubbard again (!) but I should have checked. Not only the session info on the CD but also MC's notes call it a celeste - evidently MC did not know what a harpsichord sounded like!

Hm... By the way I am surprised you never mentioned Jacques Loussier in your Bach thread.

The Hubbard is March 5 and the Hill is March 7, 1966. Seems that narrows it down a bit. The Hubbard is the extra tracks on Blue Spirits and the Hill is Change. Oh but wait - the Hubbard is a celeste - I misremembered. It is bizarre that the dates are so close then and both feature unusual instruments... More sleuthing required, maybe?

The vocal on Breezin' is 'This Masquerade'. You need to re-acquaint yourelf with your vinyl!

You all know which one I am talking about. It crops up on a Hill session and a Hubbard session and maybe others I can't remember. Does anyone know how come there was a harpsichord in Rudy's studio for those dates - tempting pianists who should know better to mess around on it?