JSngry

Back here again: https://en.wikipedia.org/wiki/LP_record RCA Victor introduced an early version of a long-playing record for home use in September 1931. These "Program Transcription" discs, as Victor called them, played at 33 1⁄3 rpm and used a somewhat finer and more closely spaced groove than typical 78s. They were to be played with a special "Chromium Orange" chrome-plated steel needle. The 10-inch discs, mostly used for popular and light classical music, were normally pressed in shellac, but the 12-inch discs, mostly used for "serious" classical music, were normally pressed in Victor's new vinyl-based Victrolac compound, which provided a much quieter playing surface. They could hold up to 15 minutes per side. Beethoven's Fifth Symphony, performed by the Philadelphia Orchestra under Leopold Stokowski, was the first 12-inch recording issued. The New York Times wrote, "What we were not prepared for was the quality of reproduction...incomparably fuller."[4][5][6] Unfortunately for Victor, it was downhill from there. Many of the subsequent issues were not new recordings but simply dubs made from existing 78 rpm record sets. The dubs were audibly inferior to the original 78s. Two-speed turntables with the 33 1⁄3 rpm speed were included only on expensive high-end machines, which sold in small numbers, and people were not buying many records of any kind at the time. Record sales in the US had dropped from a high of 105.6 million records sold in 1921 to 5.5 million in 1933 because of competition from radio and the effects of the Great Depression.[7] Few if any new Program Transcriptions were recorded after 1933, and two-speed turntables soon disappeared from consumer products. Except for a few recordings of background music for funeral parlors, the last of the issued titles had been purged from the company's record catalog by the end of the decade. The failure of the new product left RCA Victor with a low opinion of the prospects for any sort of long-playing record, influencing product development decisions during the coming decade. Also of interest is the use of 33 1/3 speed for "industry" purposes, broadcast transcriptions and that Vitaphone stuff. RCA was really doing a lot in terms of recording technology, they must have been pissed when columbia beat them to the punch with the LP as a popular medium.

but...more can be done with it than just this. The tennis thing and the cowboy thing, those are a little more than just marching band schtick. And developing that out could lead to a new discipline, instrumentalists who view dance as integral to their playing, and playing integral to their dancing. This is not at all a bad thing in and of itself, cf Cecil Taylor and everybody else who matters, dead and/or alive, from any continent of ancestral origin. That's the problem with music right now, "serious" musicians who don't/can't/won't dance from the bodysoul and "pop" musicians who don't/can't/won't play from the mindsoul. A soul divided itself cannot stand. That shit is not sustainable without a fundamental de-evolution of humanity as we mostly all know it. There was a time when this was not a problem, everybody understood each other, dancing and playing, they were mutually informed. That time is not now.

That's a good question for which I do not have an immediate answer. Here's some WikiHistory https://en.wikipedia.org/wiki/LP_record Research began in 1941, was suspended during World War II, and then resumed in 1945.[10] Columbia Records unveiled the LP at a press conference in the Waldorf Astoria on June 18, 1948, in two formats: 10 inches (25 centimetres) in diameter, matching that of 78 rpm singles, and 12 inches (30 centimetres) in diameter.[11] The initial release of 133 recordings were: 85 12-inch classical LPs (ML4001 to 4085), 26 10-inch classics (ML2001 to 2026), eighteen 10-inch popular numbers (CL6001 to 6018) and four 10-inch juvenile records (JL 8001 to 8004). According to the 1949 Columbia catalog, issued September 1948, the first twelve-inch LP was Mendelssohn's Concerto in E Minor by Nathan Milstein on the violin with the New York Philharmonic, conducted by Bruno Walter (ML 4001). Three ten-inch series were released: 'popular', starting with the reissue of The Voice of Frank Sinatra (CL 6001); 'classical', numbering from Beethoven's 8th symphony (ML 2001), and 'juvenile', commencing with Nursery Songs by Gene Kelly (JL 8001). Also released at this time were a pair of 2-LP sets, Puccini's La Bohème, SL-1 and Humperdinck's Hansel & Gretel, SL-2.[12] then The LP was soon confronted by the "45", a 7-inch (180 mm) diameter fine-grooved vinyl record playing at 45 rpm. It was introduced by RCA Victor in 1949. To compete with the LP, boxed albums of 45s were issued, along with EP (Extended Play) 45s, which squeezed two or even three selections onto each side. Despite these efforts, the 45 succeeded only in replacing the 78 as the format for singles. Here: https://en.wikipedia.org/wiki/RCA_Records it says that RCA began issuing LPs in 1950, after seeing Columbia dominating at 33 1/3, , but I can't readily find when they stopped issuing 45 RPM boxed albums. I know I've seen some from a lot later than that. I do know that RCA pushed hard on 45s for longer than most, maybe because they had invested in changer technology.

The dancing duet things with that Leo P guy, that could turn into a medium...think of the Julius Hemphill Sextet stuff being choreographed for the people who are also playing it. Not just moves or steps, but real choreography. Think of a composer writing a ballet for saxophonists. Doesn't have to be "jazz", either. Now we could be getting back to sun Ra's mind, intentionally or otherwise. Not Grace Kellie and Leo P, but the right minds, the right people, that could become interesting. Helluva lot more interesting than watching a bunch of repeater pencils playing changes.

RCA engaged in a "speed war" with Columbia for a while. RCA was fighting for 45 RPM albums, Columbia for 33 1/3. In a good used store, you can still find "plenty" of the 45 albums.

I still think that Mingus was still on his meds when they made this one. What was it that sue said that she knew that Mingus was "back", that he was hollering at the band again?

Ok, these are all in one way or another cringe-inducing, but these here really works for me, not really as music, but jsut as concept, never mind saxophone oper, here is saxophone ballet. Keep away from the bebop, kid,nobody needs you there, keep hanging with this Leo P guy, this shit works for you both, I think.

DSO last night: FABIO LUISI CONDUCTS LISE DE LA SALLE PIANO BEETHOVEN Piano Concerto No. 4 R. STRAUSS Ein Heldenleben An evening well spent.

So, yes, just now cracking this one open, but I'm hooked literally from the first notes. Better late than never!

PM sent on The Art of Vegh Quartet (14 cds on Scribendum) $30

Sorry bro, that shit don't bounce. Lee bounces. That's what I'm talking about, I don't find her "straight ahead" playing to have any real grounding in too much more than knowing in what order the notes should come. Nor should it, really, these kids today, they've had a different life experience, they got their own bounce if they want it. But this here is an old man's tempo, and Grace Kelly is not an old man, nor does it sound like she'd be comfortable as one. Why anybody wants to think that she does, or worse, that she SHOULD, I don't get it. Let her be a young woman of today, and if that means pop touches and choreography and shit, let her do that and wish her well as she does. Let her get her power from where she is, and if that's not where you're at, it's ok. I mean, I'm not gonna be there, not gonna want to be there, but that's how shit works, until at some point we die and the line moves ahead. You want to leave a good clear path for those behind you, but a path is not a track, dig? Tracks are for trains and amusement park rides. Lee's a funny guy, though. I hope somebody's got tapes of him talking on his sets, that might end up being one of the funniest records ever!

https://www.fastcodesign.com/90162494/the-war-on-whats-real

Bela Lugosi can't give away a cup of coffee, and a really nice, "way better than it had to be" score by Alexander Laszlo. It's a film that has long stretches of no dialouge and Laszlo fills them up with music you can actually listen o on its own, at least I could.

Is he still in florida?

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Bought this expanded CD for the opening 23+ minutes of Murray talking to Bernard Stollman. It is majestic. So is the music, but damn, hearing Sunny Murray talk so much for so long is a whole other experience.

Thad Jones, George Adams, George Lewis, Stanley Cowell, Reggie Workman, Lennie White, Michael Cuscuna...and Heiner Stadler getting them all on board with a concept that none of them chould have played on their own. And let us not forget this one, perhaps DeeDee Bridgwater's finest moment, all things considered.