Daniel A

Or was it perhaps a new Kuhn? It's of interest all the same, so thanks for the heads-up!

Harvey Mason plays very well on a couple of soundtracks of the time ("Three Days of the Condor", anyone?). And wasn't he on the "Baretta" scores as well?

Is this the Buster Williams composition? I'm very curious how they were playing it in 1973. Anything remotely like the version on "The Prisoner" (or even less likely, the Jazz Crusaders version)?

Thanks for letting us know, brownie!

Not recorded by RVG, and probably not whithin the range of a possible Hutcherson Select, but let's hope for it anyway: It's exactly as good as the line-up suggests. And I'm glad Bobby is thinking of his health; he's smoking filter cigarettes!

There's a wealth of European stuff which has never seen CD release and is notoriously hard to track down (Martial Solal, Stan Tracey, Ronnie Scott etc), but I'm not sure Mosaic would really go for something which would probably not sell that well in the US (or even in Europe). And it would perhaps prove more difficult to license the material, too.

Thanks for the info, Ken! For those interested, I have posted the timings from the original LP *here*. And if they decide to reissue it once more I have a clean copy to dub from right here.

This doesn't exactly count (three of the six tracks from the earlier recording are remade with the same personnel (minus Garrison), but anyway: 1959: 1993: Then there's this one: and this:

Ubu, my impression is that Pearson always sounded slightly more confident (and enjoyable) when he had some more influence over the arranging/producing etc. than on his typical sideman dates. As for what Pearson albums I think you should get, that's a matter for a different thread (I think there is a Pearson recommendations thread somewhere already). (I kind of liked the big band Pearson avatar as he has a sort of mysterious smile on that cover, but one day my avatar for some reason did not show anymore, so I scanned a photo from - guess what - the Donald Byrd Mosaic set instead!)

Just how cool can you get, man?

One seller at UK Amazon ("import cd-specialists") claims to have it in stock, "brand new factory sealed", for £43.23 (~75 USD or 63 EUR). "Ships to you same business day"... http://www.amazon.co.uk/exec/obidos/tg/det...2664648-7196462

I guess I'm now also known as mr. Joe Cool...

I had 25 people over here at a party yesterday night. When we got well past midnight, and there were around ten people left, I made some pancakes; it's an old tradition of mine. I served them as I prefer them myself: with strawberry jam and whipping cream.

Technically, there's nothing wrong with Byrd's playing on 'Fuego', at least not in my opinion. Musically, it's neither much better nor worse than his other Blue Notes of the day; it doesn't stand out from his late 50s output in any way. His tone was never the fattest among trumpeters, and it could sound somewhat uncertain from time to time. He sounds OK here, though, but plays it rather safe. Edit: As usual, just my very personal opinion of the date. (added after reading the praise in the previous post. I guess I'm just not a great Byrd fan, though I have most of his Blue Note albums which I enjoy for what they are; mostly solid and not too adventurous hard bop dates)

Поздравляю с днем рождения!

Long live the Ghost!

I was thinking of a carbon fibre brush, but I remember those tubular brushes back from the 70s. One recently sold on UK eBay for a pound, but they don't seem to be generally avaliable. I recall a previous discussion about brushes, but as a search for it didn't come up with anything, I'm beginning to think it was perhaps back on the BNBB. A HiFi dealer tried to convince me that brushes did nothing but push the dust deeper into the grooves, and suggested that I "clean" the records simply by playing them, and then removing pollution from the stylus by using a special kind of green sandpaper (later identified as a part of "the Linn philosophy"). I get the impression that this is pretty much considered false outside of Linn circles. Since my cartridge is a (long discontinued) Shure V15-IV, which has a built-in brush, my records would - according to this theory - be more or less destroyed as I play them, something which I can attest is not true. The aforementioned dealer had a tough time explayning why it was still OK to use this cartridge - obviously he didn't want to imply that Shure V15-IV was useless, and I did point out that it had been designed for use with the brush, and that disabling it would affect the tracking negatively. Anyway, he somewhat hesitantly said that the pressure from the cartridge brush was so light it didn't have the same effect as a manual fibre brush. However, the brush of the cartridge actually collects a great deal of dust while the record is played, which leaves me with the problem of how to de-dust the brush. So, what is the right way of using a carbon fibre brush? And what are the brands to look for (I remember a cheap brush which spilled "hairs" into the record grooves all the time; apparently they were not attached well enough to the brush)?

Still no sign of problems on the Red Trumpet website. One would think that they lost many loyal/potential customers due to the attention their financial problems got at various Internet forums, so if efforts to keep up the business are in fact made they should have made some sort of official statement. Would anyone at all on this forum order from them at this stage?

Well?

How do you actually use a brush? I can think of two ways, neither of which produces entirely satisfying results. Either you hold the brush in a fixed position over a rotating disc for a couple of turns and then release it. The problem is that this leaves a string of dust at the point where the brush was lifted up. Or you could try and drag the dust out towards the edge of the record (which is till rotating). However, by doing this it seems as if most of the collected dust is only pushed right into the grooves of the LP when the brush moves semi-vertically across them. Are there better methods which I'm unaware of?

Thanks for all the input! I have a lot to check out here for sure. Re: the Jarrett analogy - as I'm a moderate rather than a great Jarrett fan, I'll probably start out with the earliest Bley stuff and work my way chronologically a bit at a time. When I'm through, maybe I'll get on with the collected works of Jarrett as well! As I haven't heard the recording in question, I couldn't really tell how spot-on the review is (actually I found it rather fun). But with that talk of Bley's pipes and "Bass? You Goofed!", it struck me as more than a bit weird. But I'd prefer him over Yanow any day.

I don't have any Paul Bley albums. In fact, I'm not even sure I know what Paul Bley's playing sounds like. 1. Should I be ashamed? 2. Where should I start? (I checked a couple of the AMG reviews of his albums. Eugene Chadbourne's - who's that, anyway? - review of Blay's Savoy album 'Footloose!' is patently absurd: *link*)

I think they (Sony) are afraid customers will be bugged if a tune does not start immediatly when they skip one of the many unlistenable tracks, and expect a new, merely lousy one.

And yes, I forgot to add: read "Raise Up Off Me"! It's a very personal, revealing, and ultimately saddening statement, which nevertheless should be read by anyone interested in his music. Since a few years it's once again available, now in an inexpensive paperback edition. On Amazon it's possible to search inside the book for specific words and phrases. "The Hampton Hawes Website" appears to be unavailable. It didn't contain that much besides a discography, but had some interesting suggestions under "Suggested reading" (still available from the 'wayback-machine' here) For anyone largely unfamiliar with Hawes, here's a piece which offers slightly more insight that the AMG.