dicky

That's a sensational recording with a not too shabby supporting cast... Arranged By – Ernie Wilkins, Nat Pierce, Phil Moore (2) Baritone Saxophone – Jerome Richardson, Sahib Shihab Bass – Wendell Marshall Drums – Joe Marshall Guitar – Danny Barker Piano – Nat Pierce Tenor Saxophone – Paul Quinichette Trombone – Jimmy Cleveland, Urbie Green, Vic Dickenson Trumpet – Buck Clayton Vocals – LaVern Baker I have it on a 2-fer with her Precious Memories album, which is always wonderful and at times stunning.

Ringo is left handed. That, I think, largely contributes to his unique approach and time. Otherwise, they we're all spectacular. Bands are magical things. That they "came together" and wound up with George Martin was kismet to the nth degree.

Bob Gibson https://www.si.com/mlb/2017/10/05/year-of-the-pitcher-book-excerpt-bob-gibson-world-series "Gibson sat off to the side—drinking, not spilling, champagne. The night before, he’d gone to hear Les McCann play jazz piano. Now McCann entered the locker room, his fist raised, yelling, “Black Power!” Gibson had little use for such sentiments—his power was his, and his alone—but he’d showed them what Jackie Robinson and Willie Mays and scores of Negro players could have accomplished had they teamed up with Johnny Pesky and Ted Williams."

First try extracting to a hard drive. If there's still anomalies/skips try some moderately rubbed in Lemon Pledge with a cloth or paper towel on the back of the disc. Really.

I first saw the Fort Apache band at Nightstage in Cambridge, MA with "guest soloist" Dizzy Gillespie around the late '80s. To see Diz so up close was extraordinary, but the band was equally exciting. Subsequently saw the group in NY on several occasions including a Christmas Eve performance at Sweet Basil that will always stay with me. So much music emanated from the stage when that group performed. They were a treasure. What a terrible loss.

I don't think so. He's merely stating the obvious. From the article... "It’s more than likely that the incompatibility of a late 19th-century house, with early 20th-century wiring and the power needs of modern movie lighting, played some part in this catastrophe." That's exactly what a friend and I - who collectively spent many dozens of nights/early mornings at St. Nick's - immediately suspected.

No "reset" was required. I just got in the habit of listening to Miles without EQ and as I upgraded my gear, slowly weaned myself from using it in general. I'm computer/file based now and the only time I use EQ (or DSP) is when listening to boots. And even then I'm careful to make sure the output gain is reduced to compensate for any EQ I apply that might cause clipping.

No, the speakers. They were late 80's B&W's (CM 1 CM2 - https://www.google.com/search?q=b%26w+cm1+cm2&source=lnms&tbm=isch&sa=X&ved=0ahUKEwicpLW3t7LWAhWHKiYKHZwGAhkQ_AUICygC&biw=1018&bih=550). The Miles Tokyo disc with Sam Rivers would shut them down every time because I was using a mild smiley face EQ . I presume it was a built-in protective mechanism which Larry's speakers apparently didn't possess. And, again, it was only Miles. Diz, Don Cherry, Roy, etc., never had the same effect. Nor for that matter did Terry Gibbs.

A mono Miles album with the treble turned up could have been the culprit. His piercing trumpet, with or without harmon mute, used to regularly cause my B&W's to shut down when I employed an EQ in the chain.

I believe you indeed largely do. And I didn't mean to derail the thread before it caught steam. The larger point(s) i was attempting to get at probably would be best poured over in a thread of its own. I appreciate your recommendations, Clifford. I live in NYC. Used to regularly start my nights at the Knitting Factory and end them at St Nick's Pub. Don't quite get around so much anymore. Marco Eneidi, however, is a new name to me. Your description piqued my interest... thanks.

My mistake on Ribot/Frisell. I agree it's a lovely album. And I'm not advocating recreations of the past, be it bop - hard, free or otherwise. Time marches on. I get it. But I hear increasingly less connection to the tradition with each passing year. Inevitable I suppose, but there's also less ebullience and, to my ears, innovation in the music. If Metamusicians Stomp had been shelved and released this year it would be, I think, regarded as a revelation. The same could be said of contemporaneous albums by Threadgill, McPhee, Braxton, Roscoe, Hemphill, etc.

It's hard to escape the reality that with each passing year these "best of jazz" albums sound less and less like jazz. I enjoy, for example, Andrew Cyrille's release but it sounds more like a film soundtrack and Marc Ribot invariably comes across as the leader. We're a long way from Metamusicians Stomp. Can't anyone swing anymore? Can someone release an album that's fun?

If this forum is committed to enforcing a no politics policy you might want to take a look at Chris Albertson's signature.

Smile by Charlie Chaplin. Lyrics were added later. Off the top of my head, I have KD, Dex, Sonny Criss & Von Freeman taking a stab at the tune.

Fourth photo: Billy Harper? And who else? James Carter & Bill "Big Daddy" Saxton Fifth photo: ?? Ravi Coltrane & James Carter Seventh photo: Jimmy Heath in the center. Who else? Patience Higgins & Ron Holloway Eighth photo: Sonny in the center. Who else? JC & Holloway

Van never was that. The musical language he's created for over 50 years transcends categorization. The power of his voice will reach deep into your soul if you allow it.

The movie plays like an ABC Afterschool Special with gratuitous cursing. It's an amateur film that somehow manages to make jazz appear as appealing as psoriasis. If the lead charachter's hero was Blakey, Max, or Elvin the picture would still be a thorough mediocrity.

I used to regularly see Roy at The Lenox Lounge. Some nights were musically sublime and other nights (when things weren't quite clicking) his company along with the hipness of the room made the night. I also saw him downtown with his own groups, Other Dimensions, and with William Parker's led groups. He gave so much to every performance. This is a major loss.