Rooster_Ties

My only frame of reference — the only Hindemith Quartets I’ve ever heard or owned — is the Danish Quartet’s complete set on CPO (rec. 1995-96). But I have to confess, I’ll bet I’ve only spun it a handful of times in the last 15 years (and I probably picked it up 20 yrs ago). Playlist of the entire thing: https://youtube.com/playlist?list=PLWCKjgcrYR3PVp7Y9xDuV1oRp0xeAZ9ix&si=1i-E-nAjMDyH22ME

Yes, BUT… the two bonus alternate takes still have the missing channel problem — as if it was maybe(?) recorded to 4 tracks, and the track with Tyrone is not audible, except his playing is vaguely audible from having been picked up from other non-tenor mics on the date. But the main album sounds “relatively-phenomenal” by comparison to the previous Black Lion issue — where Tyrone was barely audible on the entire album (not just the alternates). Not thrilled the alts are a bust — but it was amazing to finally hear the main album clearly for the first time in almost a couple decades (I think I picked up the Black Lion of the Cowell back in the early, early 00’s).

Been close to 20 years since I’ve heard “Turkish Women” — and only briefly (must have had a friend spin theirs, I’m guessing — or I sampled it in-store, possibly — and I passed on it). Perhaps I should start an entirely different thread for jazz studio albums that sound noticeably worse than their recording date would suggest they ought to. Live — now that’s a whole different story — and the range of live recordings of every sort of sound quality have been issued (based on the import of the recording, usually). But there can’t be more than a dozen (or perhaps two dozen) studio albums that truly sound way, WAY worse than they ought to. (I mean there’s “not particularly good” — and then there’s “inexplicably bad”.)

Speaking of Black Lion (and Freedom)… …anyone have any insights about this date?? Philly Joe — Mo Joe (as it came out on Black Lion) I used to have the presumably domestic (US) Black Lion CD issue of Mo Joe — and iirc, it might have been the second worst sounding post-1950 studio jazz album I’ve ever heard (#1 being Stanley Cowell’s Brilliant Circles, at least as it came out on CD specially via Black Lion). What’s the deal with Mo Joe? I also vaguely remember the music itself being sorta promising — but the SQ was sure thick and chunky (unless I’m remembering wrong, been 15+ years since I’ve heard it / had my copy).

Me too. I definitely keep ‘em, for historical purposes — but don’t really care if I don’t have them either. Not just obis (obies?), but stickers on the outside shrink wrap, which I re-apply somewhere to the liners or the tray-card, sometimes.

Although I’ve never had much of any interest in Springsteen’s music, I have always had a decent amount of respect for him. Can’t say I’ve heard more than a handful or two of his tunes over the years (just whatever I heard on the radio in high school mosty, in the mid 80’s) — and I literally don’t know that I’ve heard more than a few songs of his since then (in close to 40 years). He’s always seemed like the real deal to me, but his is a style of music I’ve just never cottoned to much. I’ve never specifically disliked what I’ve heard — and I’ve never changed the channel when he was on Letterman, or The Tonight Show, etc. But he just never turns up anywhere in most of the music media I consume.

Fantastic news!!

Bump!

And what about his comic books? (Not entirely kidding either.)

I think lots of people are trusting it more and more (too much), and they seem to be forgetting the limitations. I don’t trust it. Nothing like legal filings that are citing non-existent case law — if a lazy lawyer uses it. In very controlled cases, it most definitely has its uses, particularly I looking for pattern matching in complex medical results — as long as the results are closely reviewed by a trained/qualified human. But just expecting AI to get “most things” roughly “good enough” generally “much of the time” — and then pretending that’s adequate for many applications — is just a recipe for disaster. ====== I also find it funny that I’ve read that ChatGPT is notorious for using lots of em dashes — like I did in the paragraph right above, and again here now — and how that’s an absolute ‘tell’ for AI-generated results. I use em-dashes TONS in my more colloquial on-line conversations, here and elsewhere. And I use them more than I should in email too. So suddenly I’m open to charges of using AI when I post stuff!!

Haven’t had enough interest or curiosity to try any of them personally. And I try to avoid relying on AI-generated search results from Google — although I will definitely skim them, and then click on the source links it provides to verify from the non-AI source. (And I must confess to being tempted to trust them more and more sometimes.) That said, I have and do browse a several different AI-related subreddits with periodic regularity — about CharGPT, and AI-generated images, and such (even video). So count me as both wanting to avoid direct interaction with AI — while still being a little fascinated with online discussions about AI.

Yeah, didn’t think it’d float your boat — but was still curious what you’d think. Thx!

Do me a favor: Give this track a listen, Dan. The Steve Coleman comparison is subtle, and I might be the person who even hears it that way. It’s not the tune or context that reminds me of Coleman — just something about the way Rouse uses time that does. Humor me, Dan — how does this hit you? Let it go long enough to get into Charlie’s solo a good bit. It’s not ‘out’ at all, just modern, to my ears…

I love Rouse’s Strata-East album. It’s different, and a little weird — and I appreciate that none of it is tepid. I’ve even occasionally thought some of Rouse’s playing (specifically on his Strata East) reminds me a little bit of Steve Coleman — if you can believe it.

I probably wouldn’t say no to a free copy of the expanded version — but this is nothing I really ‘need’. I do really like Charlie’s fast-tempo solos (like track 3) — more specifically, Charlie seems full of good ideas there. But the overall context is a little limp for me. Some of the album might grow on me a bit — but I kinda don’t want to listen to it often enough to hafta get to that point.

Barcelona!

I vaguely remember hearing this too — years after this thread — and also decided it sounded more like Garnett too. Or at least it definitely didn’t sound like Tyrone.

Hard to be content with no content.

No joke (no joke).

That’s my problem too. The price-point is just too high for me to justify. I’ve never owned any of the individual albums from the set — and, ironically, it’s the disc with the valve-trombonist that I’d maybe find to be the most curious (both for being valve trombone, and also for it being a pianoless/chordless quartet configuration. If it were half the price — and half the material (say 4 discs) — I probably would have bought one by now.

The alternate of “Mode for Joe” (the title track) IS — as far as I remember — on the Mosaic too. I’m talking about the track that was previously only ever on the semi-recent Japanese SHM CD reissue (which I do have). I don’t have the Henderson Mosaic (nor the Hutcherson or Hubbard), but I did buy a copy of the booklet for the Henderson Mosaic. I will say that that alternate of “Mode for Joe” is a real stunner, far as I’m concerned. I too am really curious about the previously unissued “Photon” from the Hutcherson set — but less so the other alternates. When push came to shove, I couldn’t justify rebuying all that Hutcherson just for that track (and the alternates) — although 10-15 years prior I probably would have bought it. I can play you that alternate of “Mode for Joe” sometime, Bertrand — it really was an eye-opener for me.

Didn’t that used to be CD’s you bought from Starbucks??

Yeah. Such dithering. Pick a side!

Oh, definitely, or eBay. No longer even considering this Amazon offer, once the $22 shipping fee appeared out of nowhere.

I’ve almost bought that solo-piano Herbie date a dozen times or more. Maybe one of these days I’ll finally bite.