Rooster_Ties

Monk on Fender Rhodes. Nothin’ like it!

Hell, I’m not sure I could access (stream, or download) even HALF my music collection right now (let alone 10-25 years in the future).

Here’s Dusty’s promo verbiage about the new set, fwiw. https://www.dustygroove.com/item/995828

Yeah, I almost mentioned Hill too — but good call on mentioning Gilmore (who I hadn’t thought of). Or Herbert Morgan on a Larry Young date (I sure wish Herbert Morgan had recorded more.)

Or Joe Henderson, for that matter.

Aha. We’ll I’m glad I’ve already got this particular CD issue, which I agree is really nice overall — and it’s grown on me a bunch since I’ve gotten it too.

Where’s that “Jazz in Holland” cover (or whatever it is called) — the one with the black guys they pulled off the street and posed with instruments they’d each probably never held a day I their life. The actual players on the record were all white (and Europeans) iirc — and the trombone player in the pic on the cover is the tell, because he clearly has no idea how in the world to hold a trombone while playing it. The LP dates from around 1967, and looks a bit like an Impulse! cover, slightly (in terms of the overall color scheme). I’m sure a number of you remember this.

Don’t pretend like you don’t know who BTS is. I’d believe that from Chuck, but not you!

Long discussion about this on the Hoffman board. Best as I can tell, it’s largely sales of Adele, Taylor Swift — but especially BTS (whose fans buy multiple different variations of each release, keeping their all sealed as collectors items). In short, I wouldn’t celebrate too quickly. Apparently Adele has a huge fan base among “women of a certain age” (who still only listen to things on CD). And I’m guessing Taylor Swift has something to do with her literally re-recording and re-releasing (new versions of) all of her prior albums, because she didn’t own the rights to that music (not sure I said that right, but that’s gotta be what’s going on). And BTS fans have like 8 (or maybe more like 14?) different versions of every cd of theirs (music the same, packaging different), all still perfectly sealed.

Have the 32jazz cd, and haven’t spun it in a very long time. I certainly remember it being good — but not “great” — and maybe not quite “very good” either, come to think of it. But maybe my memory done broke.

More on topic, I just never got with RTF particularly — or much if any Chick, post-Miles. I had Light as a Feather once, very early on in my listening back in college (~1990, I’m guessing), but didn’t hang onto it for more than ~10 years, iirc. But just because it didn’t float my boat, didn’t mean it was awful either.

I’m certainly down with Mother Ship…

It’s been decades since I heard any Meatloaf (probably not since college). I used to go see the midnight showing of Rocky Horror a dozen times my senior year in high school (mid-80’s), and a few times in college — and they used to show a couple Meatloaf promo videos (and a couple by Tim Curry too) — but I’m sure I haven’t heard (or seen) any of it since the early 90’s. If anyone wants to hear, the Phil Rizutto bit starts a little after the 3:30 mark…

Prestige was a lot worse, definitely — spreading sessions across 2-3 albums all the time. Dreadful.

DC residents get called once every 2 years, like clockwork. You can almost set your clock by it. The last time I served (but didn’t actually end up in the jury box), the judge dismissed everyone saying “see you this week in two years, and you can practically put a reminder in your phones about it). ANYWAY, my question is, why in the world do you have to report by 8:00am? I’ve been called ~4 times since I moved here to DC, and a couple times back in Kansas City. And every time, you have to report by 8am. But in every case, all I’ve done is sit around for at least a 60-90 minutes — before getting called into the courtroom, where I’ve sat for another half hour or more. Nothing has ever happened until 10:30am, at least in my experience. I’m usually up by 7am almost every day of the week (7:30, at the very latest) — but I’m NO morning person, to put it mildly. But I’ll have to be up by 6am, to have time to shower, get ready, eat, and get the Metro to be sure I’m at the courthouse downtown by 7:40 — all to have time to get thru the magnetometer security line, with 250+ other jurors. And if I didn’t live a quarter mile from a Metro (DC subway) station — and had to get a bus (or perish the thought, take two busses) — I’d have to be up by 5:30am, or earlier. Which is what a TON of people who don’t live by Metro stations have to do). 8am?? Why, oh why??!!! /rant

True, but it gets a little better as it goes (and/or I just get more used to it the farther into the disc I get). I’ll agree that my inclination has been to turn up my nose at the SQ each of the three times I’ve put Disc 1 on — but all three times, by the time the disc was done, I’m glad I stuck with it. Disc 1 is probably the roughest, SQ-wise — though Disc 3 has its moments too. All the rest is variously good (or very good) to quite acceptable. Even the wire recording of the 1948 free session that starts off Disc 6 isn’t half bad, in terms of the SQ (all things considered).

And, iirc, that’s the ONLY way to specifically get the speed-corrected “Live at the Five Spot - Discovery!” material — isn’t that right?

Aha, thx. I wasn’t at all aware of any of these (not that I really needed any of them, other than the Monk, sorta).

This looks pretty darn nice, and I’m tempted (I didn’t get the Mosaic, and don’t have but about half of this material). The “notes” section for this on Discogs (which is fairly extensive)… https://www.discogs.com/release/6474196-Thelonious-Monk-Round-Midnight-The-Complete-Blue-Note-Singles-1947-1952 …say: “The fourth release in the "Blue Note Select" series, initiated as part of the label's 75th anniversary in 2014.” Question: What were the other four? (I’m not sure I was ever aware of this series, depending on what the other ones were.)

Learn something every day. And I thought that guy looked slightly familiar.

You can’t make this shit up… https://www.wmfe.org/pino-put-on-leave-for-encouraging-orange-county-department-of-health-employees-to-get-vaccinated/195298 The Florida Department of Health Medical Director that oversees areas of Orange County including Orlando has been put on leave for encouraging his own staff to get vaccinated. Orange County Medical Director Dr. Raul Pino wrote an email to staff on Jan. 4th encouraging them to get vaccinated and boosted for COVID-19. In an email to WMFE, the Florida Department of Health has confirmed Pino was put on leave because, “the decision to get vaccinated is a personal choice that should be free from coercion and mandates from employers.” Florida DOH says it’s even conducting an inquiry into whether any laws were broken by sending the email.

The idea of intermixing sessions with wildly different sidemen just seems wrong to me. Especially multiple times (multiple albums), drawing from the same different sessions. I don’t want to listen to an album and constantly have wonder, now who’s in the rhythm section on this track again?

Who dat? Yeah, Bill Evans, apparently— but beyond that? Cuz if there’s two sax-playing Bill Evanses, then that’s news to me.

Just how many more Bill Evanses are there?

Just to clear up some inevitable confusion — it appears that the lead dancer and choreographer of this troupe is also named Bill Evans (see video down below). BUT, indeed, it would also appear that our Bill Evans was involved in the proceedings above, according to the YouTube description of the video above… Choreography: Bill Evans Music: Arranged and recorded in live performance by Bill Evans Jazz Trio (Bill Evans, Joe LaBarbara and Mark Johnson) Lighting; David Gotwald Costumes: Wade Madsen and Taffy's Videography: Erik Whitmyre Performers: Rachel Brumer, Jim Coleman, Bill Evans, Shirley Jenkins, Gregg Lizenbery, Debbie Poulsen Performed at the Seattle Center Playhouse, September 2, 1980, as part of the Bumbershoot Festival. Mixin' It Up was my second collaboration with Bill Evans, the legendary jazz pianist. We worked together in 1978 on work called Double Bill and then again in 1979 on this collage. When it was premiered at Meany Hall, University of Washington, the Bill Evans Trio were on stage with us and performed live. I'm not sure if I have footage of one of those concerts, but I'm searching my collection of thousands of VHS tapes to see if I can find one. After the initial performances with live music, we performed to recordings made in those performances and took the piece on the road. We danced in all over the country for a couple of years, with several different casts. Other dancers who performed the work in BEDCO tours included Regina DeCosse, Llory Wilson, Wade Madsen, Larry Byrne and Sheryl Sedlecek. — Bill Evans, April 1, 2021 https://www.evanssomaticdance.org/ Here’s more about the dancer Bill Evans (from the same YouTube account)…