couw

Lee Morgan's Cornbread and Charisma spring to mind.

a pity that hardly anyone will understand these gems by Johan Cruyff. with stuff like: -"If we have the ball, they cannot make a goal." -"the truth is never like you thought it would be." or most famous of them all: -"every disadvantage has its advantage."

http://www.organissimo.org/forum/index.php?showtopic=10713 http://www.organissimo.org/forum/index.php?showtopic=19615 http://www.organissimo.org/forum/index.php?showtopic=20286

I tried to get the bigger file from the site, but it turned out a dead link. There is only so much magic one can apply to bad graphics.

1952, Ben Pollack records for Savoy 1961, Lee Konitz recording session for Verve, released on the Verve Elite 3CD issue of Motion

1976, Cecil Taylor - Air Above Mountains (enja)

Never saw the vinyl, tell me, is the 10+ minute silence and the "telephone conversation" on the fourth side, or how was this constructed? Great album BTW, very nicely connected through all the snippets and sounds ← Side 4 is all silent grooves except for a short (about one minute) phone conversation from Rahsaan at the end of it! Missed this until I saw it mentioned several years ago! ← it scared me a whole lot when I spun the CD one day and was busy with other things when it had ended and all of a sudden Rahsaan was breathing loud into my speakers! Then the "3 sided" part of the title suddenly made sense to me, but I never got around to asking whether my idea was correct. So thanks for confirming. Judging from your missing out on it for all that time, I guess these "gimmicks" were not all that effective in the LP era. Rahsaan was much ahead of his time!

Never saw the vinyl, tell me, is the 10+ minute silence and the "telephone conversation" on the fourth side, or how was this constructed? Great album BTW, very nicely connected through all the snippets and sounds

moi trois -_-

no Linux, just that somehow I could access all the info on all the CProt CDs I put into my drive. I like to customise my machine & software plenty much, but in this case, there was nothing to customise, it just worked. Can it be that some drives simply are not fooled by the double ToC on these CProt disks?

If I am an average user, I can only say that it isn't really all that complicated. It's so easy and I am so average, I do not even know what I did to make my collection of copy protected CDs rippable and mp3-able and whatnotable. And I mean the actual music content, not the crappy files also hidden on the discs. This is why I hardly ever know a solution: I never had the problem in the first place! As for the masterings: I heard (and saw) some pretty crappy shitte too off late.

yup, just realised that too. Let's just wait and see then.

FWIW, there is no mention of these being CProt over at amazon.de. As there is mention of CProt for the upcoming RVGs, I guess this means that the Legacy disks will be regular CDs.

this is from a japanese site that seems no longer online. I took it from google's cache: Lee Wiley(vcl) acc. by Billy Butterfield(tp), Teddy Wilson(p), Jack Lesberg(b), Gene Krupa(ds). Eddie Condon Floor Shaw, WNBC-TV, New York, January 22, 1949 I've Got A Crush On You CD: Yadeon 503 Lee Wiley(vcl) acc. by Dick Cary or Freddy Slack(org), Bob Casey(b). Eddie Condon Floor Shaw, WNBC-TV, New York, January 29, 1949 Someone To Watch Over Me CD: Yadeon 503 Lee Wiley(vcl) acc. by Bobby Hacket(tp), Teddy Wilson(p), Jack Lesberg(b), u/k(ds). Eddie Condon Floor Shaw, WNBC-TV, New York, February 5, 1949 The Man I Love CD: Yadeon 503 Lee Wiley(vcl) acc. by Peanuts Hucko(cl), Ernie Caceres(bs), Dick Cary(tp,p), Jack Lesberg(b), Sid Catlett(ds). Eddie Condon Floor Shaw, WNBC-TV, New York, June 18, 1949 Medley: It Never Entered My Mind / A Ship Without A Sail / You Took Advantage Of Me CD: Yadeon 503 Lee Wiley(vcl) acc. by Gene Schroeder(p), Jack Lesberg(b), Sidney Catlett(ds). Eddie Condon Floor Shaw, WNBC-TV, New York, July 9, 1949 A Woman Alone The Blues Why Can't You Behave CD: Yadeon 503

1960, Anita O'Day records for Verve (Incomparable!) 1969, Clifford Thornton - Ketchaoua (Actuel) 1975, Donald Byrd - Places and Spaces (Blue Note) ... disco!

from the liners to the Byrd album: or as Frank Zappa and the Mothers put in on their "We're Only In It For The Money" album: "When my royalty check comes in, I think I'm gonna buy a ... Mustang!" It must have been in the air around those times.

yup

1961, Lee Konitz recording session for Verve, released on the Verve Elite 3CD issue of Motion

1960, Anita O'Day records for Verve (Incomparable!) 1965, Stan Getz Plays Music from the Soundtrack of Mickey One (MGM), ctd the next two days.

The date usually given for this session is plain August 1957. Why not August 16? Who says so? Any idea? ← similarly, I don't know where I got it from, but my files have August 16 as well.

1956, Art Tatum records solo for Pablo 1970, Grant Green - Alive! (Blue Note) 1981, Art Pepper records for Galaxy (APQ, Roadgame, Art Lives)

1955, Bill Russo and the Hans Koller Quintet record for Mod records, ctd 18th August 1981, Art Pepper records for Galaxy (first issued as part of the box set)

thanks for the understanding! Like I wrote: good, but not riveting. Plenty similar stuff on my shelves. Just read through the other comments and saw I got some guesses right where I didn't expect them. Much of this is new ground to me. Let's hope some of it turns for the better, even if I am not waiting for more expenses.

1. accordion and tango to boot. I'm a sucker for accordion in jazzy settings and so this gets a thumbs up. The cross-fade into straight ahead Buhainian muscle swing on the Hubbardesque trumpet solo seems a bit odd, but noticing a similar pull over towards moody emptiness for the tenor makes it all fit. Sort of a suite then in an Instabile kinda way, but besides some of the flurriness behind the accordion, there is nothing much to pin it on them, so I'll leave a blank space. Interesting though not overwhelmingly so. 2. must be Tony banging away on the pots and kettles. Nice and agile pianist, no clue whatsoever though. This is sort of sterile and doesn't really stick anywhere in my ears but rather trickles off like water on oily ditties. Good, but not anywhere near riveting. 3. and similarly this one doesn't do much for me. The tune sounds familiar. The interplay of the horns somehow simply fails to grab me. I do hear some very good stuff going on, but nothing glues me to my headphones. Maybe it's my mood, more likely the clinical production sound is part of it. 4. similar modern sound here. Pretty bland until the horn solos hit. Also no surprises, but some great little lines. Nice to have a solo section consisting of a series of trades. Really like this part. All in all this is pretty subdued, wonder what it would sound like if they'd let loose the juice. 5. Little Niles isn't it? Marimba is a cool kind of doorbell and this is a nice edgy, cubic kind of rendition that makes for good contrast with the wooly wooden sound. Stefon Harris maybe? Pianist is nice and edgy too, with some Hill and Hancock influences. 6. the guitarplayer seems to be playing How High the Moon, the others may use the same changes but seem on another page most of the time. Pretty fantastic fireworks by them horns. Nice release and re-leash, push pull play with time. Grand stuff. Geetarr sounds like Sco and I could have done without on this track. 7. very sweet. Most likely a bunch of old guys having a go in a modern day studio forcing their sound onto the tapes. Very good if not great interplay and a pianist that knows how to span an arc and keep you interested. He leaves some pauses without development, makes them short enough so one does not lose interest, yet long enough to make a little flurry sound like a grand idea. Very good, liked this one a lot. 8. drip drip, nothing sticks. nice for dances but very flat sound and the playing lacks real depth as well IMHO. Although there are definitely some moments, it lacks for the cigar somehow. Dunno really. 9. whatsthisthen? harmonica *and* violin? this is like complementary colours shimmering alongside eachother. Somehow painful but definitely a grand effect and it can be neat. The latter seems the case here. My guess is for good ole Toots from Sesame Street. ja ja. 10. Sounds like Newk, can't be him, some of the tone is way off. My mind won't settle. ((still bouncing up there)). baffling. 11. Woa! this disk has taken a new turn with that baffling track 10 just now. Is this Kenny Wheeler? It has some of the restrained intensity them yurpeens tend to display. Well organised and very well executed. Good stuff! 12. this sounds very familiar. Pretty groovy organ player! Whodat? Tenor with heavy Rollins influence, Murray maybe? I somehow keep imaging what it would sound like if Barney Wilen would be playing (blame it on my mood). Would be similar in some spots, but carrying much more depth and message where it counts, and none of the honking. So it looks I'd be discounting this one by comparison, which would not be fair, especially with respect to the wacko organ player. I'll just leave it at this being a good one! 13. very nice and filmic. Melancholic in the tenor and haunting in the piano. And then at 1:54 they play that shitty line to re-evaluate and mock it all, pop goes the bubble and they can start building anew. Gladly they recover and set a good pace. The change at 4:16 is splendid in that good ole mystery movie soundtrack kind of way and yes! you need a lot of free walking bass and space there and some singular notes and spare lines to bring the message home. So, good and one more good indeed, of only for that shitty line again at then end. Re-reading my comments, I see I have been pretty negative here, especially considering the first two thirds or so of the disk. Blame it on the sound and blame it on my ears and my mood. In spite of all that bad rap, I really enjoyed this set and disk one even more so thanks a big much to Marty for sharing.