Larry Kart

If the CD has music on it that I want to hear, why, up to a point, would it not be worth it? That's why my initial post asked if there were some device or method that worked on scratched CDs but didn't cost a lot. I've seen posts on the Internet that suggest working non-gel toothpaste or rubbing compound into the CD and then washing it off (the idea there is that the grit in those substances will bring the scratched areas down to the level of the rest of the CD's surface, and the laser will now move past them) but at the moment, after I found a different library that ran my scratched CD through their fancy scratch-repair machine, I don't have a scratched CD on which to try those cheap home remedies. Thanks, but I've since, per Rooster Ties and Jim's suggestions, talked to a game store, and they run CDs through their scratch-fixing machine for a modest fee.

Anyone have any luck with devices or methods that do the job? I buy a good many CDs at library sales (several libraries in my area are de-acessioning their CD collections for 50 cents or $1 a disc), and some of the CDs are scratched to the point of being a problem -- the sound is a bit messed up or the CD won't play at all. My local library has a high-priced scratch-repair machine, mostly for DVDs although it works on CDs, but they won't use it on CDs from other libraries. There's a place about 15 miles away that does scratch repair for commercial customers, but they won't work on anything less than a 100 CDs at a whack, which is not my need. I see that there are machines/devices available, but almost none of them have good reviews, except for ones that cost thousands of bucks, and I'm certainly not going there.

If anyone does have or picks up this Wess CD, could you report on it? I like Wess too but recall that at least one Floating Jazz Fest album, by whom I don't recall) was kind of ramshackle for my tastes.

Amazon review: "For someone like me who plays the tenor and loves its classics, this is a delightful history lesson. It should be called 'The Joy of Tenor Sax.' Led by Frank Wess, who clearly grooves on live performance, whether on his flute or on tenor, this double CD features (count'em!) not one but four historic tenor giants: Wess, Jimmy Heath (on two cuts), Frank Foster (on three) and the eldest of all, Flip Phillips (on one). The rest of the cuts are all Wess, with a first-rate trio led by the great George Cables on piano (bassist is Lynne Seaton).. Its all recorded on a cruise ship in front of an appreciative audience which makes you feel like part of the jazz family. Remember, these discs are made in the mid 90's and these men were playing with Basie or Jazz at the Philharmonic in the late '40's! Talk about masters! The feeling is warm, the improvisations are stretched out and richly conceived, the rhythm section is superb." BTW, others here no doubt are way ahead of me, but noting the hefty price on this album and the lesser price for a download, I'll say that I've begun downloading and burning to disc (because I want to play back things through my good stereo system) a fair number of items where the CDs are pricey or the item may not even be available as other than a download. My latest such move was Milton Babbitt's String Quartets (2-6) in fine performances for $15 and only available so far as a download. It was an especaialy tasty deal because the total amount of music, about 90 minutes, was more than a single CD can handle, though of course once downloaded it's easy to burn the music onto two blank CDs. Here's the Babbitt Quartets link: https://erikcarlson.bandcamp.com/album/milton-babbitt-string-quartets

I think I did see that Time cover post of Jim's at the time but didn't delete it, in part probably because (horror of horrors) I know Jim, and also because IIRC no one complained about it at the time. Again, almost every political post that I've deleted was deleted because someone complained about it in real time. An image of a fanged Theresa May being anally raped by Boris Johnson in front of the Houses of Parliament as she bites off the head of the Muslim mayor of London -- now that might have caught my attention. In case anyone is offended, that was an attempt to be satirical.

What's keeping me from deleting me from deleting Jim's post? He knows where I live, and I'm mortally afraid of him. Or. better, I've heard what he has to say about that image, don't particularly agree with it, but if deleting it is going to embroil me in a dispute with someone I don't want to argue with, and not deleting isn't going to knock this whole forum or the entire universe off its axis -- and surely it won't -- then I'm going to leave the past in the past and pay attention to the present and the future of what goes on here as best I can. But, hey, what about the Dreyfus Case? And who really started the Reichstag Fire?

'...your "right" to be a moderator..."? ROFL. As I've said or implied before, right there's a big part of the problem -- some of you guys think we're your servants and have nothing better to do than sweep up all the elephant crap after the circus parade. But we're volunteers who also have lives to live, and are in tune with the idea of self-policing.

Sorry.

How did I bring the "issue" up? Is it because I explained that the politics and religion forum was dropped by Jim A. because the acrimony that had been prevailing there was in his view interfering with the reason this forum exists in the first and last place, and that forum rule #5 is what it has been for a good while now. In any case, it seems to me that this "conversation" revolves around only two things: 1) The request for an absolute definition of what a political post is; 2) Why have some of Jim S' allegedly political posts not been deleted? As for 1): Go ask a philosopher; it's way above both my competence and pay grade. Or, bearing in mind rule #5 -- if you yourself have any doubts, don't post it. As for 2): Ask Jim for his rationale, though I think he's already given it (the "striking image" thing). Further, I find Jim to be a wry witty guy and assume that his motivations are of that sort, not acts of political advocacy. As for myself, I don't recall posting anything political here after the Politics and Religion Forum went dark.

If you want to try all these cases in Federal Court, go right ahead, while we talk about ... jazz, maybe? As for Jim's posting of that Time cover, I would guess that for him it fell into the striking image bag. As for Jlhoots' "Why was [that] post allowed and others were deleted?" -- you seem to be assuming that the moderators regularly cruise these threads in search of posts that violate forum rules and need to be deleted. In fact, while the moderators delete the occasional rule-breaking post that we happen to see in passing (as in, on our way to something else) the vast majority of the posts we delete we have been made aware of by -- and only by -- complaints from forum members.

Well, I like the Cubs, so . . .

Again -- if you don't know yourself, don't post it.

Below are the Organissimo forum rules in their initial form. Where the latest version of the rules are, I don't know; probably Jim S. has the answer. In any case, the relevant rule here is #5, but because some years back the degree of name-calling, the number of flame wars, etc. on the Politics/Religion Forum increased to the point where, in the view of Jim (the view that counts) and in the view of the moderators too, such behavior had to stop -- in the name of general civility and because some board members who used to talk to each other in a friendly and useful-to-others manner about the music were now pretty much just screaming at each other about politics or religion. Neither general warnings nor warnings to specific posters were doing the job (as, intermittently, they aren't doing the job now) so Jim decided to end the Politics/Religion Forum altogether. Thus, rule #5 is now: WE DO NOT ALLOW POSTS AND THREADS WITH POLITICAL AND/OR RELIGIOUS CONTENT. As for complaints that so-and-sos political post is still up there while your political post has been deleted, the moderators, as I've said before, are not in the business of sweeping up every piece of elephant dung after the circus parade. We dispose of what should be disposed of when we see it. In fact, if you've posted something that violates rule #5 and your post hasn't been deleted, why don't you go back and delete it yourself? THE RULES As with any society, members of the Organissimo Forums must abide by a set of rules. By reading and posting on these forums you agree in principle to the following rules: 1) The Organissimo Forums support the notion of free speech, although the definition of "free" is defined by the owners and operators of this board. We reserve the right to edit, delete, or otherwise moderate any post we deem inappropriate at any time for any reason. If you feel a particular post is worthy of a moderator's intervention, please report the post using the "! report" button to the bottom right of the post. The report button looks like this: 2) Anything judged to be a direct personal threat towards another member of this board will be deleted and the offender may face banning and/or even prosecution, depending on the severity of the post. The definition of what constitutes a personal "threat" is determined by our moderators. 3) We do not tolerate offensive material. This includes material in all threads, posts, links, signatures, attachments, and avatars. The definition of "offensive" is determined by our moderators. 4) Flame wars will not be tolerated! We rarely delete threads, but we often close them and no new posts can be added. If a thread degrades to the point that we deem it necessary, we will close it or delete it. 5) We do not allow posts and threads with political and/or religious content outside the Politics/Religion Forum. 6) We do not encourage multiple memberships or aliases. We prefer one account per person. Anyone found to have multiple accounts will be contacted and asked to choose one of their aliases, at which time the other account(s) will be deleted. 7) We do not allow sharing, trading, or linking copyrighted material that is being offered illegally, including bootlegs. 8) We do not allow commenting on the price of wares in the "Offering/Looking for" forum. If you feel a post is extortionate or otherwise problematic, please report the post to the moderators. We also prefer that transactions be handled via the PM system. 9) When posting articles from other websites, do not quote the entire article. Please post a small snippet, then include a hyperlink to the full article. See as an example. 10) Please remember, this site is offered free of charge and is run by volunteers. We ask that you conduct yourself as you would if you were a guest in someone's home. Please treat your fellow members with respect. If you would like to discuss these rules and/or a possible violation of them, please do not hesitate to contact us at forum@organissimo.org P.S. As for "What's the definition (of political)"-- you're going to have use common sense. If you think your post might be political, then don't post it. Or just take it to the Internet, where one can post it with no problem.

All those whose posts on this thread I've just deleted: NO POLITICAL CONTENT/COMMENT ON ORGANISSIMO! THAT'S THE RULE; NO ARGUMENTS OR QUIBBLES. IF YOU DON'T LIKE IT, GO AWAY OR YOU'LL BE GONE AWAY!

No, those Max tracks are taken from one of his own albums.

Anyone know or care about the Neal Peart Rich-tribute album "Burning for Buddy" (the first of two from that source and by that name)? Just picked up Vol. 1 at a library sale today and am a few tracks into it. Probably none of the drummers is a replacement for Rich, but the band itself, mostly Rich grads, is impressive: Bass – Chuck Bergeron Guitar – Bill Beaudoin, Chuck Loeb, John Hart Piano – Jon Werking Saxophone – Andy Fusco, Dave D'Angelo, Jack Stuckey, Steve Marcus, Walt Weiskopf Saxophone [Tenor], Flute – Gary Keller Trombone – George Gesslein, John Mosca, Rick Trager Trumpet – Craig Johnson (2), Dan Collette*, Dave Stahl, Greg Gisbert, Joe Magnarelli, Mike Ponella,Bob Milikan*, Ross Konikoff, Scott Wendholt, Tony Kadleck Here are the drummers involved: TracklistHide Credits 1 Dancing Men 6:37 2 Mercy, Mercy, Mercy 5:09 3 Love For Sale 4:30 4 Beulah Witch 4:30 5 Nutville 5:06 6 Cotton Tail 4:36 7 No Jive 5:46 8 Milestones 5:05 9 The Drum Also Waltzes (Part One) 1:04 10 Machine 3:46 11 Straight No Chaser 3:34 12 Slo-Funk 5:33 13 Shawnee 3:06 14 Drumorello 3:18 15 The Drum Also Waltzes (Part Two) 0:48 16 Lingo 4:31 17 Ya Gotta Try 3:17 18 Pick Up The Pieces

On to CDs 3 and 4. I was particularly looking forward to No. 3, which features lots of Lucky Thompson, and Oscar Pettiford throughout, and was not disappointed. Lucky's solo on "Tricrotism" is a good deal more extended than on his classic ABC-Paramount trio recording with Pettiford and Skeeter Best, and the more Lucky the better for me -- what a unique, marvelous player. Next comes Lucky paired with Zoot Sims on "Lester Leaps In," intriguing to hear the un-Prez-like Thompson in this context and with Zoot. Castro with Zoot is rather too forceful at times on "Things Ain't What They Used To Be," but that doesn't bother Zoot at all; he's all in. And so it goes for three more tracks with either Lucky or Zoot, very good all the way. Trombonist Sonny Truitt, an Earl Swope disciple it would seem, is mellow and creative once he loosens up. Trumpeter who is thought to be John Glasel doesn't make much of an impression. Pettiford's bass lines and solos are something else -- what a shame he died when he did (1960, age 37). Cd 4 is the Castro-Teddy Edwards-LeRoy Vinnegar -Billy Higgins quartet that made several records. Nothing startlingly better here than on those, but very good. Nice to hear Vinnegar take some non-walking solos; he had a flair for them too.

Oh, my...

https://www.amazon.com/Lush-Life-Musical-Joe-Castro/dp/B0157S7MTQ/ref=sr_1_1?s=music&ie=UTF8&qid=1538696755&sr=1-1&keywords=joe+castro On to CD 2, with Teddy Wilson, bass, drums and either Getz (7/55) or Zoot Sims (1/56). This is great stuff. Wilson is in remarkable form throughout, and Getz really responds to his thematic-motivic, semi-contrapuntal comping, which is not unlike John Lewis' behind Milt Jackson with the MJQ. Stan initially is akin to his laidback "Long Island Sound" period of a few years before but then he really digs in. Zoot was in great form in 1956, more long-lined/linear than he would be in later years. His reading of "You Go To My Head" is masterly. Drummer Sol Gubin only has a snare and brushes to work with, and the first of the Teddy-Zoot tracks, "Sunday," doesn't lift off as much it might have, as Gubin sticks with "what-to-do" rudiments, but things loosen up notably later on, and Zoot is irrepressible. Interestingly, Wilson's comping behind Zoot is not particularly thematic-motivic, as it was behind Getz.

https://www.amazon.com/Lush-Life-Musical-Joe-Castro/dp/B0157S7MTQ/ref=sr_1_1?s=music&ie=UTF8&qid=1538696755&sr=1-1&keywords=joe+castro Just getting into it. Second CD of six looks quite intriguing -- Teddy Wilson and bass and drums backing either Stan Getz or Zoot Sims in 1954. First CD consists of three long (one is more that 35 minutes) rather abstract at times jam session tracks with Castro (a good player), Chico Hamilton (very prominent in guiding things along), Buddy Collette, trumpeter John Anderson and a bassist. Soloists duck in and out of the spotlight, usually after brief stints, but there's a lot of Collette in excellent form on clarinet and flute, not as much John Anderson but what there is of him is choice -- he's kind of a West Coast version of Joe Wilder, very relaxed and with a gorgeous mellow sound. At first I found the some-of-this-then-some-of-that fluidity of the music a bit frustrating, but then I realized/began to think that this fluidity was inspiring to Collette especially and also began to make sense in its own right. I can't think of any music being made in 1954 that sounded quite like this. Boy, was Collette a fine clarinetist.

I've got a used copy of the original. Don't think it's been re-issued.

The late Michael James' "Ten Modern Jazzmen" is a must read. Not that I agree with everything James says, nor am I in sync with the sometimes presumptuous manner in which says what he says, but it's a book that probably will stimulate your thinking as few books on jazz do -- it certainly has mine.

As a Papageno says in "Der Zauberflote": "Hmm, hmm, hmm. hmm. hmm, hmm, hmm. hmm."

Think I remember that story; my lips are sealed.

Based on information from elsewhere, here's the story. The solo is Ben's, improvised and created under circumstances that Ted has explained above, though Duke later probably asked Ben to codify the solo to some degree, and why not? Ben also wrote the piece's sax-section passage. What Duke did write is Ben's solo on "The Blues" section of "Black, Brown, and Beige." It was that piece of retained information that confused me.