neveronfriday

HTML tables are sooooo 90s. Get over it.

Fantastic shot! Wonderful. Thanks!

Yeah, just bought that one the other day. Nice session!

Must. Have.

YEAH! Leave it to the Dutch dude to leave everyone in the dust. Thanks a million, John! *hugs and kisses* and all the usual stuff!

The only thing I could so far find out (not sure how accurate) is that this should be the alternative European (Germany/UK) cover from , what, the first European release? I don't really care so much about when this is from ... I'd much rather find out something about the designer. So far, I've drawn nothing but blanks on my usual stomping grounds around the Net. :/

OK, I haven't been very successful at finding out who made this cover, when and where. [sorry for the bad photo quality]. Description: mint-greenish with accents in orange; left foot of figure seems to carry an EW. signature. This is B 07025 L, a Philips Minigroove 33 1/3 of Jazz Goes to College, printed in Holland. There's no year and my dad, who this is from, cannot remember when/where he bought it (around publication, mid-50s?). It's always been one of my faves and I'm about to get it framed. Does anyone have any info on this?

And those would be .... your favorites?

This guy was in my class. We once cooked cat food at his place (or was it dog food?). Somewhere, I still have a hand-written note from this guy telling me to get my act together and practice more. I threw a full beer cup (what a damn waste, I know) at this guy once because he walked off stage after about 20 or 30 minutes at a concert. Got him good. I helped the guy on the right once get rid off the most annoying reporter he had ever seen. We just started talking and completely ignored the lady. This guy fell on me and two friends once at a concert. We made sure he didn't get hurt. ...

'Incontinent' has two meanings in French. It means 'incontinence' but it can also be used as a synonym to 'immédiatement' (immediately). Second meaning was being used in this case!

According to a press release, Universal Germany is reissuing 40 CDs from the first runs of JiP ... apparently they were hard to find around the shops. Amongst those reissues are Art Blakey, Stéphane Grappelli, Jean-Luc Ponty, Stan Getz, Django Reinhardt, Donald Byrd, Oscar Peterson, Toots Thielemans, Louis Armstrong, Michel Legrand, Sarah Vaughan, Chet Baker, Lionel Hampton und Dizzy Gillespie plus some compilations, "Saxophones à Saint-Germain-des-Prés", "Jazz & Cinéma" and others.

WHO THE HELL IS Will Friedwald? As of today, after a major cleanup, I have 1.57 terrabyte of music in mostly lossless format(s). Screw that guy. P.S.: These past weeks I've been seriously considering (that's very seriously) deleting it all because I'm sick and tired of trying to safeguard it against mechanical failure. Besides, I have about 90% of it on CD, so who cares? Yep, another nutcase. P.S.: That size=7 is positively huge!

I'm a big fan of LH although it's a pain in the neck to piece all of his output together if you don't have a major discography lying around, which I don't. But that's what the Big O. is for, ain't it. A quick in and out of this thread as I haven't had time to really read previous posts (sorry) ... Amongst the many other recordings, I have the three twofers that reissued the RCA material (BMG France). These can often be had at very cheap prices (without checking now, you might also be able to find them under the title "Indispensable" which was used for a later reissue?). Besides the above-mentioned Peterson box, the Goodman small group stuff and the Vogue reissue (plus a Sonet reissue Hampton/Svend Asmussen) plus some other CDs, I have the following ... and I'm sure they have been mentioned here. They are pretty flat transfers and the sound of most parts of this reissue series was quite good to excellent (f. ex.: Joe Newman, Basie Days!). These used to be all over the place for as little as $5, but they are becoming more and more scarce. Get them while you can (a quick search showed that the last one, #78, is already difficult to find fast). Jazz Tribune # 61 ("Complete LH 37-38) Disk: 1 1. My Last Affair 2. My Last Affair 3. Jivin' The Vibes 4. The Mood That I'm In 5. Hampton Stomp 6. Buzzin' Around With The Bee 7. Whoa Babe 8. Stompology 9. On The Sunny Side Of The Street 10. Rhythm, Rhythm (I Got Rhythm) 11. China Stomp (Chinatown, My Chinatown) 12. I Know That You Know 13. Confessin' 14. Drum Stomp (Crazy Rhythm) 15. Piano Stomp (Shine) 16. I Surrender Dear 17. The Object Of My Affection Disk: 2 1. The Object Of My Affection 2. Judy 3. Baby Won't You Please Come Home 4. Everybody Loves My Baby 5. After You've Gone 6. I Just Couldn't Take It Baby 7. You're My Ideal 8. The Sun Will Shine Tonight 9. Ring Dem Bells 10. Don't Be That Way 11. I'm In The Mood For Swing 12. Shoe Shiner's Drag 13. Any Time At All 14. Muskrat Ramble 15. Down Home Jump 16. Rock Hill Special 17. Fiddle Diddle Jazz Tribune # 74 ("Complete LH 1939) Disk: 1 1. I Can't Give You Love 2. High Society 3. It Don't Mean A Thing 4. Johnny Get Your Horn And Blow It 5. Sweethearts On Parade 6. Shufflin' At The Hollywood 7. Shufflin' At The Hollywood 8. Denisson Swing 9. Wizzin' The Wizz 10. If It's Good 11. Stand By! For Further Announcements (And More Good News) 12. Ain't Cha Comin' Home 13. Big Wig In The Wigwam 14. Memories Of You 15. The Jumpin' Jive 16. Twelfth Street Rag Disk: 2 1. When Lights Are Low, Take 2 2. When Lights Are Low 3. One Sweet Letter From You 4. Hot Mallets 5. Early Session Hop 6. I'm On My Way From You 7. Haven't Named It Yet 8. The Heebie Jeebies Are Rockin' The Town 9. The Heebie Jeebies Are Rockin' The Town 10. The Munson Street Breakdown 11. I've Found A New Baby 12. I Can't Get Started 13. Four Or Five Times 14. Gin For Christmas 15. Dinah 16. Dinah 17. My Buddy 18. Singin' The Blues Jazz Tribune # 78 ("Complete LH 40-41) Disk: 1 1. Shades Of Jade 2. Till Tom Special 3. Flying Home 4. Save It, Pretty Mama 5. Tempo And Swing 6. House Of Morgan 7. I'd Be Lost Without You 8. Central Avenue Breakdown 9. Jack The Bellboy 10. Dough-Rey-Mi 11. Dough-Rey-Mi 12. Jivin With Jarvis 13. Blue (Because Of You) 14. A Ghost Of A Chance 15. Just For Laffs 16. Martin On Every Block 17. Pig Foot Sonata 18. Charlie Was A Sailor Disk: 2 1. Lost Love 2. I Nearly Lost My Mind 3. Altitude 4. Fiddle Dee Dee 5. Bogo Jo 6. Open House 7. Smart Alec 8. Bouncing At The Beacon 9. Give Me Some Skin 10. Now That You Are Mine 11. Chasin' With Chase 12. Three-Quarter Boogie 13. The Blue Room 14. Blue Interlude 15. Sing For Supper 16. Smoke House 17. You And Your Love 18. Who'll Buy My Bublitchki

Time to start a countdown again, me thinks ... if only for the birthday cakes. BTW: Whatever happened to Maren? She came up with GREAT cakes every single time. A troupe with no arms sounds like a German unit. Hope you had a great one. Keep jazzin' it up, Flurin. Cheers!

Glückwunsch, du alter Sack.

Just pulled some Shearing off the shelves that I have (unordered list): My faves: a) The George Shearing/Cannonball Adderley Quintets at Newport (Pablo, 1957/2002). The sound isn't pristine, but Kirk Felton got the best out of the transfer. Great sessions with one tune (Soul Station) featuring the Shearing Quintett and the Adderly brothers. b) George Shearing Quintet, On the Sunny Side of the Strip (1960), GNP/Crescendo. Nice boppish live set (I think this one was reissued on the Mosaic?). c) George Shearing Quintet, Back to Birdland, Telarc 2001. A fantastic live set with excellent sound. It's one I often recommend to people to get and start out with. d) Ditto with George Shearing Trio, I Hear a Rhapsody: Live at the Blue Note, Telarc 1992. Good sound, great ensemble playing (these guys are tight). e) Although the third LP reissued on this set is NOT my cup of tea (schmaltzy strings that make my speakers first weep and then melt, although the whole setup is saved by Shearing's playing and Oersted-Pedersen on bass), George Shearing: Three Originals (Light, Airy and Swinging; Continental Experience; On Target) which reissues three sessions Shearing recorded for MPS 1973 (San Francisco), 1974 (Villingen, Germany) and 1979 (ditto, plus orchestra recorded at a studio in Wembley, England) and were engineered by Hans-Georg Brunner-Schwer (all of his stuff just sounds superb) are wonderful. That's 19 tracks of primo Shearing plus 9 tracks of schmaltz. Not a bad ratio. This one's hard to find and I bought it off someone (who scribbled his notes in the booklet ) for 3 Euro. Best 3 Euro I ever spent. f) George Shearing, Grand Piano, Concord 1985. Great stuff. g) One of those rip-off Membran "Original Long Play Albums", A Jazz Date with George Shearing (tracks recorded 49-53 and taken off various albums I can't remember without checking) is not bad at all. More than decent sound, good Shearing. Other stuff: 1) George Shearing, Duets, Concord 2002 (1980-1991) is a mixed bag. Taken from various Telarc albums from the 80s (and not limited to duets as there are trio and quartet tracks), there's great stuff here (Shearing and Hall) and pretty mediocre stuff. Great sound throughout. 2) Reflections (Best-of 1992-1998) collects the supposedly best tracks of various Telarc releases. Good to great, with various instrumentations, but altogether I'm not a fan of compilations, so ... 3) The Shearing 4-CD box "From Battersea to Broadway" (Proper) sucks. Yes, it's got lots of great material but the sound is just crap. Sorry. I'm going to start hunting around for much of this material in better sound quality, should it be available. 4) Was given the Pizzarelli/Shearing Quintet CD entitled "The Rare Delight of You" as a present. Shearing is great, but I just can't warm to Pizarelli's voice - and God knows I've tried. Hence, the CD is pretty much ruined for me. Plus: I have more Shearing, like the Verve Definitive comp plus about 5 or 6 other CDs, but those have gone "missing" ... meaning I lent them to someone and haven't gotten them back yet. Those 5 or 6 are all 50s and 60s material, uniformly excellent, but I can't recall the titles right now. I also have the Shearing Nat Cole CD from Telarc but am too lazy to find it on some pile now (love that one) and a bunch of LPs that have been packed away forever (60s stuff). Yeah, I'm a (minor) fan.

Both are excellent. Get 'em.

I agree. But I think our voices will not be heard any longer (not much longer). What I've decided to do is to buy into lots of stuff these next few years before the s*** really hits the fan, meaning that stock will be depleted totally and new reissues won't be on the horizon anymore. I'm at an age where buying into lots of stuff I still want in a format that's going to disappear in the nearer future is a viable alternative. I'll have enough to listen to until I drop dead (I might possibly have that already) and the rest of the world can worry about storing several thousand Cds in digital format without losing any ... for all of those unable to afford a high-quality redundant RAID system, that's going to be difficult. But, as I've stated elsewhere, most people I know don't really care at all. If everything crashes, they'll just buy something else ... music as commodity and all of that. Hell, one day I'll buy myself one of those $3000 CD players that weighs half a ton, has excellent support and is fixable until I turn 90 ... to hell with everyone else. You could say that I stepped out of the mainstream - you know, the people who buy into every reissue that states "24 bit remaster" and makes your ears bleed, the ones that don't care which label does what ... the people who are totally complacent about sound quality, reissue policy etc. (meaning: most people) - and I'm just going to stock up and enjoy the music I managed to get in the best quality I can afford. Actually, you could say I've gotten old. But that's another story.

I'd actually love to have some more recommendations for someone who likes the V.S,O.P. reissues: What are other equally well-recorded and transferred (!) reissues of smaller west coast sessions on other labels?

From the VSOP website: V.S.O.P. #103 THE MIKE BARONE BIG BAND: LIVE AT DONTE'S, 1968 *December 11, 1968 : Larry McGuire, Buddy Childers, Gary Barone, Steve Huffsteter (tp); Jim Trimble, Pete Myers, Vince Diaz, Ernie Tack (tb); Lou Ciotti, Bill Hood, (ts); Med Flory, Bill Perkins (as); Jack Nimitz (bs); Mike Wofford (piano); Jim Hughart (bass); John Guerin (drums). **November 6, 1968 : Same as December 11, 1968, except Cliff Bryant replaces Mike Wofford (p); Charlie Loper replaces Jim Trimble (tb), and an unknown player replaces Pete Myers (tb). SONGS IN THIS CD: * Tumbling Tumbleweeds** 5:22 (Bob Nolan) * Deedle-Dydle* 4:27 (Mike Barone) * I Got It Bad And That Ain't Good* 4:37 (Paul Francis Webster, Edward Kennedy Ellington) * My Melancholy Baby* 13:29 (G. Norton, E. Burnett) * The Masquerade Is Over** 5:19 (H. Magidson, A. Wrubel) * Juss Messin' Around 7:13 (Mike Barone) * Put Your Arms Around Me Honey* 8:02 (J. McCree, A. Von Tilzer) * By Candlelight** 4:40 (Bill Hood) * The Non-Viennese Waltz Blues* 13.:20 (Joe Gordon) * Flupp** 4:47 (Mike Barone) * My Heart Belongs To Daddy* 3:39 (Cole Porter) Price: $13.00/each Recorded at Donte's in North Hollywood, CA. Session Producer: George Jerman; Production Coordinator: Bob Edmondson; Mastering: Joe Sidore; Liner Notes: Mike Barone, Alan & Marilyn Bergman; Cover and Liner Photos: Mike Barone. Mike Barone's Big Band was an institution at Donte's in North Hollywood from 1966 to 1969. Through this working band, Mike Barone composed and arranged hundreds of charts, of which 300 were commissioned by Doc Severinsen. In addition to writing for the Tonight Show Band, Mike Barone is a highly accomplished trombonist. Thanks to George Jerman and his Ampex recorder and Joe Sidore's excellent mastering work, these classic moments are presented to a larger public for the first time almost 30 years to the day after they were created.

I don't mind so much. Yes, they're a bit pricey (the ones I got cost between $4 and $7, which I think is more than reasonable when compared to a lot of totally overpriced crud on the market) if you consider the amount of music that's on there, but they are also readily available and a great reissue program. Worth supporting, I think.

Fair enough.

There's a lot of things that I want that are not available for me to buy. Doesn't make it right for me to steal it. Let's use that one then. Let's say you want a nice piece of furniture from some known Scandinavian company that hasn't produced or distributed that piece in - say- 10 years and more. A few are available at outrageous prices around the globe, second-hand. BUT, at the same time, every (!) single shop in both your area and your country carries a copy. Nobody has ever been sued or even publicly reprimanded for selling that copy ... neither by the law nor by the government nor by anyone else (besides some people on some forum). To add to the list, the original manufacturer has not gone on record saying he/she minds in regard to that item. Nada. Let's then say this has been going on for years and even decades and - searching the Net - not only your real-world stores but also every single online source you frequent carries this material. It is everywhere, usually not further than three/four km away .... in every direction. We're not talking drug dealing in shady places here but open offers everywhere (!) you look ... even in the most respected places. So, you would travel to Japan and buy the table, pay a hefty import fee and be happy? Risk getting the material caught up in customs if it cost more than 20 Euro (incl. postage)? Cool. I decided not to anymore, after spending I don't know how much time and money buying thousands of legit issues (and still doing that 99% of the time, btw). If I I want a recording and it is readily available (for all intents and purposes, legally) all around me for a fraction of the price at the same quality, I go for it. Secondly, for years I pieced together sessions on legit issues, often getting material I wasn't in the least interested in to get a tune or two I was interested in. Hell, I even bought a turntable to stay legit. I have so many doubles just to get some complete sessions together that it's not funny anymore. A total waste of money and - in my eyes - a totally unacceptable business model by the labels that were entrusted with this material. Yes, I'm tired of doing that and, as has been said elsewhere, it's my prerogative. I'm totally cool with you guys being opposed, and I've heard it in tons of threads, but I think it's completely unnecessary to say it in each and every thread. Write it up (as many have) and link to it, if you like. Lastly, yes I was going to buy the Lonehill IF IT SOUNDED GOOD ... which was stated in this thread. That was the purpose of this thread, to find out if it sounded good. No more, and no less. Had anyone said, convincingly that it sucked, I would have dropped it. Nobody did, because it has excellent sound. That answered my question perfectly. What I didn't ask was if I was going to rot in hell for buying a LoneHill reissue. So, ... shall we continue? I'm game.

Yep, and I'm allowed my share.

Might have been dumb, but I'm so dead-tired of the same issues being pressed in every thread, every single time. Cheers!