Chas

Yes , those without mono cartridges or without a mono button on their amp can put two Y adaptors between the turntable and the amp . No need to rewire the cartridge itself . The two male RCA jacks from the turntable are put into a Y adaptor with two female RCA jacks going into one male RCA jack . This male RCA jack is then put into a Y adapator with one female RCA jack going into two male RCA jacks . These two male RCA jacks are then plugged into the phono stage of your amp .

That's one I always have to listen to twice , because on the first run through Elvin's brilliant brushwork distracts me from a proper appreciation of what is a very good Tommy Flanagan performance . Masterful is the word that comes to mind . Elvin really was the complete drummer .

Anybody picking up that Caesar Frazier twofer CD from Ace Records mentioned above will want this one too : The Gary Chandler album on that CD has Caesar Frazier ( sounding a little like Ronnie Foster at times). The version of Baby Let Me Take You ( In My Arms ) is a killer ; it grooves hard all the way , with extra grease from Cornell Dupree . Those Ace CDs are pricey , but the original LPs go for money , so.....

Well I don't know about all available , since previous batches have all had six titles IIRC . We know the sixth title is not going to be the Stanley Clarke initially listed at Jazzitude , so I suppose we will just have to wait and be surprised . I expect the Kenny Cox to be a favorite here . We will see how many seconds had to be edited out to make both albums fit on one disc , but I don't see myself buying it unless the booklet is spectacular . And even if that is the case , if the sound on the CD is like the sound on the CDs of other Liberty-era recordings ( e.g. The In Between ) then I will happily keep my original vinyl of the two sessions . As to Manhattan Fever , it's one I never reach for . The best track on it as I recall is the longest track , which is a version of Bill English's Seventh Avenue Bill . The rest is pretty forgettable . My decision as to whether to buy this on CD will hinge entirely on the quality of any bonus material .

The "mono" switch on your Sugden simply sums the two channels into one. Every sound picked up in each channel is now played back in both channels. Correct me if I'm wrong, but I was told that a mono cartridge does exactly the same thing, i.e., that it's wired to sum the left and the right to give you mono. You're wrong. AFIK a true mono cartridge translates only one way oscillations, vertically or horizontally I don't remember, a stereo cartridge translates both in order to have two different channels. While we await someone more knowledgeable in these matters , here is my understanding of the subject : While it's true that mono cartridges only respond laterally in the horizontal plane , they still pick up two different inputs or signals , inasmuch as they pick up the information contained on both the right and left wall of the groove . This fact is put to use in amplifiers that have buttons for , 'Left Mono' , 'Right Mono' or 'Right + Left Mono' . Such buttons can be useful if one side of the groove is noticeably noisier than the other , but ordinarily , summing both left and right channels yields the highest signal-to-noise ratio . If it's true that the Grado cartridge mentioned above sums both right and left channels does this mean there is no difference between it and a stereo cartridge outputted through a double Y connector or a mono button on an amp ? . No . A stereo cartridge will pick up noise in the form of a vertical component of the playback signal which was not in the mono input signal , but results from variances in groove width caused by the cutting process . The Grado and other mono cartridges , since they are wired to be unresponsive to information in the vertical axis* , will not have this added noise . A modern stereo cartridge with an elliptical stylus yields less of this type of noise than an older conical stylus , provided its diameter is not too small , but there is still a measurable difference. So the question becomes whether this difference is an audible one . Getting the most out of monophonic sound goes beyond having the right cartridge or the right stylus geometry and size . If your playing pre-1955 records you need to know which companies used which equalization curves , and then you'll need some kind of variable EQ functionality on your preamp! * While they ignore vertical signals , modern mono cartridges now have greater tolerance for vertical movement , which is why they are no longer damaging to stereo record grooves

In the months before his death at age 33 he was ill with tuberculosis so that may have been the proximate cause , but what really killed him was a lifetime of drug and alcohol abuse or as they used to say , 'bad-living' .

I wouldn't say I DISLIKE his arco work, but yeah, it's not very good. I agree with both of you . Leaving aside the question of tuning , the interjection of a Chambers' arco solo tends to break the rhythmic continuity/momentum of the music in a way that brings the swing to an abrupt halt . My favorite Chambers-led date is First Bassman , but that's largely because of Yusef Lateef's contribution both compositionally and instrumentally .

And this cover belongs in this thread because...........?

Same facade used again here : Is this the World Trade Center? It certainly reminds me of one section of it. Since the Cherry was done in 1966 it can't be the World Trade Center which wasn't completed until 1970 . The facade looks like travertine . It looks like the side of Avery Fisher Hall :

Here's an interesting one from Harry Geller who played trumpet with Goodman in the Thirties before leading his own orchestra . The cover is split down the middle and opens like a book , revealing a night-time shot of the Gotham skyline : The cover for one of the three EPs of this material shows the skyline at night :

Great record and a great cover :

Same facade used again here : EDIT : You also might want to check out my current avatar ( right click , view image ) .

French Cookin = Budd Johnson , Hank Jones , Kenny Burrell , Everett Barksdale , Milt Hinton , Osie Johnson , Willie Rodriguez and Joseph Venuto Off the Wall = Budd Johnson , Joe Newman , Albert Dailey , George Duvivier , Richard Davis and Grady Tate

I've yet to see any Esquire cover that surpasses its Prestige counterpart . Another example here . I don't find Esquire's more literal cover , done in a DSM style , to be superior to Esmond Edwards' intriguing photographic original .

One that a lot of people will overlook is : Modern big band with swinging arrangements , good blowing by local Miami musicians , and Kenny Drew guesting . The CD is a needle-drop , but the sound is good . The band's rendition of All Blues is mislabeled as Flamenco Sketches , thus recapitulating the error on the original Kind of Blue ; kind of odd since this record came out almost a year after Kind of Blue by which time presumably , the error would have been known .

I really don't think Musart is on the level of Braith's Bluenote output . The title track starts out promisingly but during Braith's solo any musical narrative or development is lost . The two ballad standards don't approach anything memorable ; Laura being particularly unrewarding . The lowpoint of the album is Evelyn Anita , which tenders some pretty tired funkiness . One track stands head and shoulders above the rest and that is Del's Theme . The wordless vocalizing is hauntingly lovely on this , and George gets into a relaxed , hypnotic groove in his solo . Splashes of Love is the next best thing on the record , but it gets an injudiciously quick fade out just as Jane Getz is getting going ! According to Lord there are six unissued tunes from the sessions that went into Musart ( one titled intriguingly ( or alarmingly ) , 'Monkey Cha Cha' ) . In addition , according to Lord , Braith did four more tunes for Prestige in the fall of '67 with John Hicks , Herbie Lewis and Roy Haynes , but there is no listing for this session in Fitzgerald's Prestige discography .

Of the Spanish RCA CDs that I've heard the only one that I thought was subpar was the Hal Mckusick Jazz Workshop ( one of my favorite RCA jazz records ) . I recall the original vinyl of that one sounding rather better ( don't recall if the tape stretch heard on Lydian Lullaby was heard on the LP either ) . Other Spanish RCA CDS sound good however . The Freddy Merkle sounds good , though that's one I never heard on vinyl . The J. J. Johnson's are fine ; not surprising I suppose , since the orignal LPs were Dynagroove ( RCA's 'new coke' ! ) . Not that the RCA CDs are perfect . TheTotal J.J. CD has no pauses between the tracks . The J.J. ! CD has an incorrect recording date , and is missing the two Tom McIntosh numbers that are on the Mosaic Single ( I've asked about the quality of these McIntosh charts before and never gotten a reply . Didn't anyone buy the Mosaic Single ?? ) .

While I agree that the article suffers from overlength , and reports on an 'experiment' of questionable value , your gloss , " We be stupid " , misses the point . It's not that we're dumb , but rather that we're too busy , too harried as a result of the increasing prioritization of work at the expense of leisure required by American competitive consumerism . I read the article as an attempt to demonstrate that the collateral damage from this not only impairs our ability to discharge our familial and civic responsibilities , but extends into our ability to appreciate art . As to why it matters whether one exercises one's aesthetic sense or not , I suppose that might depend on whether one feels that art stands in a reciprocal relation to The Divine , in the sense that art can be a gateway to spirituality , a spirituality which can itself inspire artistic achievement .

Includes the smash hit , " Drinking with my Easter Bunnies Polka " . And yes , it is available on CD...