Chas

Everyone is familiar with S. Neil Fujita's covers for Brubeck's Time Out and Mingus' Ah Um , but here are a couple more less famous covers of his in the same style :

the thread is as simple as the subject: Album Covers created by famous artists! If the meaning was as simple as you say , you wouldn't have posted that Ornette cover

And closer-up , showing the band inside the pupil :

This thread is seemingly being pulled in two different directions . On the one hand we have covers where the art was created specifically for use as an album cover , and on the other , covers utilizing art created for other purposes . I think Evan intended the former , and I also think that such a stipulation would keep the thread from becoming tediously lengthy . We're also absent any stipulation as to whether the artist has to have been famous at the time of the cover or subsequently , or how 'global' the fame has to be . FWIW , I'd have narrowed it to , Jazz Album Covers Featuring Paintings

Anyone who can't listen past the sound quality of the Bee Hive stuff is well-advised to steer clear of this one too :

What's the story on this LP ( released on the "Flair-X" label ) which mainly features tenor man Tony Graye in a quartet with Bob Dorough , Sonny Dallas and Don Michaels ? I'm curious to know whether it's a live recording and when it was recorded ( Lord dates it as , "1960's" ) . Even if Graye is obscure for good reason , I'd be interested in hearing from anyone who's heard this record as to whether or not someone who fancies Dorough's piano playing would get something out of it .

Funny that you would single out his tenor playing , since he rarely played the instrument . Most of his recordings feature his excellent flute and alto playing , along with an occasional turn on clarinet . Something Blue is a personal favorite of mine , not least for the hard swing generated by vibist Emil Richards and by unsung pianist Paul Moer . I have almost all of Horn's pre-RCA recordings and would suggest that anyone interested in Horn-the-jazz-musician check out his three Columbia albums . Two of them are out on a Collectables 2-on-1 CD , but the final one , Impressions of Cleopatra , has yet to be reissued , but it's a real sleeper that flute fans will want to track down .

I can only imagine what these friends of yours thought of flugelhornists... Outside of some strange machismo ( "real men don't need close mic'ing" ) why would anyone criticize La Faro for using a lower action if the choice was made for artistic reasons having to do with a preference for speed and tone over volume ? This is out on a Japanese CD that runs about 29 minutes . Decent sound and good playing , especially on Bohemia After Dark and on the alternate take of So What . Hard for me to recommend a disc that costs more than a dollar a minute though .

Since you've already researched the discographies for " The Long Window " to no avail , I'd suggest that if you haven't already done so , that you sit down and listen to Manne's Peter Gunn albums or Manne's soundtrack for the film The Proper Time on the chance that you're misremembering the album's title while correctly recalling that it was a Manne-led record featuring vibes .

Talk of tenors " channeling Lester through Warne Marsh " , puts me in mind of Teo Macero , who coincidentally was born on the same day ( October 30 , 1925 ) as Mr. Burchell .

Haven't heard it . Tracks are short , so any solos would be too . A vinyl reissue of it is available here . Five of the twelve tracks are available on this Lalo Schifrin CD from Fresh Sound .

Some lesser-known Lestorian epigones from the Fifties : Steve White , Vito Price and Mike Cuozzo

The term , "intellectual property" is used to deliberately obscure the fact that what is at issue here is the desirability of a particular form of monopoly . Opposition to the current copyright regime does not rest on a rejection of private property rights , or a rejection of the utility of limited monopoly protection , but rather , is grounded in the belief that the current system of monopoly rights has appreciable costs without the compensatory benefits that might justify the bearing of those costs . Monopolies are presumptively undesirable , hence the burden of proof must always rest with those who wish to defend them . I have never seen anything on this board remotely resembling an empirically-grounded defense of what is on its face , an absurd copyright law . The general level of discussion in this thread ( the question-begging ) gives me little reason to believe one is forthcoming .

Looks like our man Eddy was working at Jack-in-the-Box or Avis back in '72...

Now that it's been established that eating cereal can help determine a child's gender , how long before the Christian Coalition worries about the effects of eating Froot Loops ?

I had a couple of Prestige 16 rpm records at one time, but not this one. Don't have any 16 rpm records any longer. 16 2/3 rpm records were mostly used for spoken word recordings , from which I infer that their sound quality was inferior to 33 1/3 rpm . What I'm wondering , is whether the half-dozen Prestige 16 2/3 rpms utilized half-speed mastering at 8 1/3 rpm to bring the sound quality up to that of their regular issues ? Prestige's 16 2/3 rpms iirc , were priced higher than their 33 1/3 issues , but was it sound quality that kept the buyers away and made this a short-lived experiment ? Were there any other jazz recordings issued on 16 2/3 rpm discs ? I suppose that one advantage of 16 2/3 recording , was that the players could be an aid to musicians wanting to transcribe and learn solos from 33 1/3 rpm discs ( in addition to slowing everything down , playing a 33 1/3 LP at 16 2/3 would however also lower everything by an octave ) .

What's the story on the Dusty Groove label ? Are their CDs mastered from the original tapes or from vinyl ? How do they sound ?

These are a little better :

Here are a couple more Esquires that IMO , don't measure up :