Harold_Z

Downbeat just seems like one big advertisement. I've been reading it since the early 60s (maybe earlier) and I used to enjoy it, espescially when KD was doing record reviews and things of that ilk. I wasn't as aware of the business angles when I was kid, but maybe also it wasn't so blatant then. Now it's all to apparent.

I love the ODJB and pretty much agree with John L. regarding their place in Jazz history. I CAN stay with them through the course of a cd and enjoy every minute of it. BTW - I hear a bass drum audible here and there on those RCA 1917 sides, contrary to what I've read where a bass drum wasn't recorded until McKenzie and Condon's 1927 date with Gene Krupa.

Man ! There's a lot of good Hawk and this is another. Hawk is playing his butt off on this one. The sound ain't the greatest, but it's listenable and Hawk's playing makes up for any deficiencies. Kenny Clarke is here and swinging and MOODY pops up on quite a bit of the disc! There is a very swinging almost 8:00 minutelong THE MAN I LOVE on this

WORD !

I'm with jhoots on this one. I liked it enough to want to see where it goes. Besides - the Sunday 10:00 pm competition is totally LOUSEEE.

Yes it is. I see where the cd is 70 minutes! It must have stuff not on the lp....HMMMMMMM.

I'm wondering if Junior is going to get loopy and start saying things he shouldn't concerning the family business....necessitating his demise. It would be a (disputed) page out of mob history concerning Willie Moretti and the reason for his hit.

>>So what you think - does he make a move on Tony or not? << I DUNNO!?! He'd have to be totally nuts (but that's not out of the question). He doesn't have his own organization to the point needed for a move like that, and if he succeeded in getting Tony out of the way he'd have to deal with guys like Johnny Sack who'd have knowledge of his move on Tony....and figure if he made a move on Tony he'd move on them sooner or later... I think more likely he'll be a bigger and bigger pain in the ass and he'll have to go. If he hits Paulie (or anybody in Tony's crew) , Tony HAS to take him out.

Ahhh...Janice isn't THAT bad. She actually reminds me of people I know. I'm beginning to think the new characters are mainly there to be whacked - thereby leaving more of the original guys intact for the last season and hence a more dramatic finale - but who knows? I originally thought Paulie wouldn't survive the season, but now I'm beginning to think his value to the writers for comedy relief might gain him a reprieve. I still think Carmine Jr. is a goner. Johnny Sack can't wait to whack him. He's salivating at the thought. Feech (Robert Loggia) is a loose cannon - I think he's out by the end of the season. I'm hoping Phil Leotardo (Frank Vincent) makes it to next season - he's just incredibly on the money for these parts.

There was an feature article and interview with Steve Cropper in GUITAR PLAYER magazine some years ago where Cropper mentions Lowman Pauling's influence on him, and I think there may also have been an article on Pauling in that magazine at one point.

Enjoyed the show last night! Frankie Vincent quotes Louis Prima: "Next time there'll be no next time." I wonder if Frankie ad libbed that line. I know he knows the tune.

Been there - Done that.

It would be extremely unprofessional for a musician (even a guy bounced from a band) to try to screw up your gig. I've seen some bitter band disputes but causing a scene intentionally and screwing up a gig is something I've NEVER seen - I hope it doesn't happen, 'cause then I know things are at a total all time low in a business that's sunk low enough already.

I REALLY hit a brick wall in regards to beer...about 1996 I was diagnosed with a wheat intolorance. NO BEER! At the time my favorites were Beck's and Grolsch and I was probably knocking off 3 or 4 a night. I miss them.

If not Detroit, surely you could try Paterson, New Jersey. It's really just a hop, skip and jump to Newark!

Sorry to hear about it. Hank played good greasy organ stuff!

YEAH! I love Marty's records. They swing..they're happy... they're entertaining They're GOOD MUSIC! Marty's guitar playing is everything Lon said and is an all too rare example of the beauty and groove of acoustic guitar. I can't think of one dud among the many Marty cds I've heard and it's great to hear excellently played Swing and Dixieland with the added benefit of modern recording.

Anybody know when digital noise reduction came in? I think I remember reading somewhere that it was as early as 1972.

I think they had digital noise reduction as far back as '82 (is that when they started to issue OJCs?) and perhaps a little earlier, but as to what records they were used on...can't say for sure, although there are some I suspect and they are not all necessarily OJC. I couldn't venture a guess as to what percentage is from analog vs digital. The Atlantic issues (for one example) of the Billie Holiday Commodore material sound very digitally scrubbed to me and I think the Atlantic issue is from the late 70s. They could have used digital noise reduction prior to the "cd revolution".

You have a point Aric. Sometimes the mono mix sounds great, espescially if that's the one you always heard. It's true of a lot of 60s R&B too - give me the Atlantic and Stax/Volt (for an example) in mono. I don't think the record companies are going to accomodate on this, but it's valid - VERY valid.

Yeah - for me the meat of the HRS is the small group stuff. When I was first getting into this stuff around 1960 or so, a lot of the HRS stuff was around on budget $1.98 lps...but the sound on the Mosaic is far superior to what those lps sounded like. The HRS is great stuff...and the Muggsy/Bechet is KILLIN'.

The HRS Mosaic is another great one. Once you hear - REALLY hear - what the older cats were saying - it can really grab you. It's not so much about virtuosity (although that can be there too) as much as about being an individual. Scales and technique, etc can be there, and often are there, but the emphasis is more on being an individual - on having "something" of your own. The older cats are more instantly identifiable for me. Their improvisations are often more melodic or in any event, more accessible to me.

I have this on lp. "Louis Armstrong at the Carnegie Hall 1947" on Archive of Jazz label. The sound isn't too bad, but it could be the earlier incarnation - or the source - of the drive/archive cd.

When Paulie gets "flummoxed" he starts shooting. That Paulie! What a card! I think Johnny Sack is going to make short work of Carmine's son once Carmine is out of the picture. BTW - is Carmine PERFECT casting or what !?

In other words - if they are coming from the same source then the relative quality of either will depend on your playback equipment. Most likely your cd player offers better playback than your turntable. Usually a cheap cd player will out perform a cheap turntable. For my money, add to that the fact that the vinyl is more subject to wear, accidents, etc and given the same source I'll prefer the cd.