mikeweil

I do! That's the only McNeill album I still don't have, not Elegia, as I supposed.

Zweitausendeins say their stock is down to seven copies. Don't miss it!

" Yet some music-business insiders regard this arrangement as a mixed bargain. When masters arrive at Iron Mountain, they say, institutional memory — archivists’ firsthand knowledge of poorly inventoried stacks — evaporates, as does the possibility of finding lost material, either by dogged digging or chance discovery. (Many treasures in tape vaults have been stumbled upon by accident.) Tapes can be retrieved only when requested by bar-code number, and labels pay fees for each request. For years, rumors have circulated among insiders about legendary albums whose masters have gone missing in Iron Mountain because labels recorded incorrect bar-code numbers. The kind of mass tape-pull that would be necessary to unearth lost recordings is both financially and logistically impractical. " Fantasy's tape vaults were moved to Iron Mountain without much preparation - I know that they always were kept in a very casual fashion, so there's little hope for any vault discoveries from the Riverside, Prestige, Contemporary, or Fantasy labels. “Just endless rows of stuff. It’s perfectly safe, but there’s no access, no possibility of serendipity. Nearly all the tapes that go in will never come off the shelf. They’re lost to history.”

I just wanted to quote that exact passage. Money kills cultural heritage.

BEAUJOLAIS CHATEAU DE CHANZÉ Primeur 2018

After finally getting a mono K2 I am a convert. This almost sounds like a new album.

Chuck, thank you for repeating this opinion constantly over the years on this forum. I finally got a copy of this version from a discogs seller in Belarus, in perfect condition. It sounds far superior to any other version of this music I heard. Who needs stereo when mono sounds that great?

R.I.P. I must admit I always had mixed feelings about him and his music. On one side, I'll be thankful forever that he introduced me to that New Orleans R & B tradition via his Gumbo LP, which I drew from a bin with drastically reduced LPs forty years ago. On the other side, his flirts with voudou had some black magic tinge about them that made me shudder. And some of his music did not sound loose enough to me, compared to his African-American idols. Nevertheless, I respect his life and quest.

I'll be in for that - even though I have the LP.

When I returned home three hours ago the package with the book waited on my doorstep. Highly recommended. Some of the best photos I have ever seen of Connie Kay, the members of the 1960 Quincy Jones Orchestra of 1960, and Helen Merrill (calling king ubu!) Thank you so much for the hint!!!

Souljazz just reissued another McNeill LP. 1000 copies each of vinyl and CD. https://soundsoftheuniverse.com/sjr/product/treasures

James P. Johnson, Disc II

"ra" probably stands for "real audio". The real player was a popular format in the early years of digitizing music for online publication. No idea whether the player software is still around or can be decoded by other audio players.

Thanks for alerting us to this, just ordered a copy through Zweitausendeins - one of the last nine they had.

R.I.P: His bass ensemble recordings were remarkable, too.

The Hindemith is even more gorgeous fun when reading along with the illustrated version he made for his wife Gertrud: http://www.mtosmt.org/issues/mto.10.16.3/mto.10.16.3.walden.html The facsimile edition, btw, is still available from Hindemith's publisher Schott: https://de.schott-music.com/shop/ludi-leonum-no38752.html -------------------------------------------------------------------------------------------------------------------------------------------------------------- That said - how about Shostakovich?

Make that three!

In any case it's an excellent training for any singer or instrumentalist to develop his improvisatory skills. I remember I once played along the Soul Station sax solos to try a different approach to conga drum soloing. Works fine.

Yes, you should. But explore that phenomenon at your own risk.

The question is: how to present thematic material and then variate it. Most horn players or pianists are not that much better at this, just running the changes without much reference to the theme or its elements. You can play a solo by thematic variation or just run licks. The former is necessary for drummers or you will bore the listeners. Doug Hammond is great at this.

I have that Roach LP - really good, he clearly refers to Baby Dodds, Jo Jones, Big Sid Catlett, Coty Cole. Doug Hammond referred to all these and Max, and did combine drums solos with recitations of his poetry.

He certainly doesn't sound like 81 on this recording. Soprano saxist Richard Hadlock has equal solo space. Bushell is an excellent player in the New Orlenas tradition with a personal style, not as individual as Pee Wee Russell or Edmond Hall, but nice to listen to. There are some bassoon solos as well. The recorded sound is excellent, a lovingly üroduced tribute like all the Delmark CDs with veteran players.

Now playing:

Just orfered this from amazon but can listem to it on their streming services. Very nice and relaxed music.