JSngry

I'm still using the same POS-ish pair of Fisher ST-915s that my wife had when I met her back in 1981, and they do each have a reset button on them. I have triggered it on occasion, Sex Pistols, electric Miles, and Ellington's Great Paris Concert.come to mind as culprits. There is such a thing as "too loud" after all, at least for these speakers (which we bought by her at a furniture store as part of a Sanyo-Fisher component system when she was divorcing her first husband. The speakers have survived longer than did their relationship, although in terms of quality...). These are not them,but they have the same feature mentioned here:

Loved his work. Loved it. RIP.

Here's where an old Schwann would come in handy!

Reissue or re-pressing? In the early 70s, Contemporary was still an independent label, not really sure if they were "reissuing" stuff? Point just being, it was in "all the stores" back then.

Is the sound "gargly" or "gurgly"? Because if it's "gargly", my recommendation is to go to the bathroom sink and spit, see if that does any good. If it's "gurgly"...

Not yet wearing hearing aids myself, this is a serious question - do you keep them on while listening through headphones?

You've ruled out the hearing aids, then?

Singers still do it often enough-ish. Not necessarily "jazz singers", but lounge/cabaret singers, where there is actual presentational and not just background functionality Instrumentally, I'd say that the average improviser and whatever audience they have is neither patient nor intelligent nor CURIOUS enough to deal with an instrumental rendering of what is essentially a verbal construct. With jazz/"jazz" and/or Pop Music, it's all about hooks, changes, and cyclical structures and "hip" alterations of them. And fair enough, up to a point - if you're just stating a melody to frame the blowing, of what real use is that rubato-ish thing on top? Then again, turning the tables, what real use is "blowing" today, when the vocabulary is, rightly or not, essentially standardized (i.e. - why does everybody sound alike? Because the all play alike!). If/when improvisers get ut of the box of thinking that "improvisation" = "blowing". maybe there'll be some changes made (groan...). Think about it - tell me one class in today's standardized (no pun intended) jazz-education curriculum that teaches lyrics to instrumentalists. They learn tunes but not songs. Think about this also - how many "jazz fans" in general look at singers as at best supplemental input to their regular musical ingestion. At best. Then again...songs. Done. At least these type songs. New people need new songs, so...let's get the new people up in here. For a change! The "verse" has theatrical origins and functionality. Where's the theatre in a Real-Book-originated jam session or club date? A song like "Lush Life", the verse is the most musically interesting part of the song (imo) but if you're playing it to "jam" on, you don't use it because it's inconvenient, it doesn't logically follow after the chorus come to its conclusion. OTOH, if you don't play it at least once, at the top, you do sound kind of stupid, because who doesn't know that verse? But that's the exception. Mostly, they just "get in the way". So, what do you do, drop the verse (easy enough) or rethink your entire approach to playing/presenting songs (UH-oh, DANGER awaits!)? Path of least resistance! I like how they don't have "problems" like this in opera. Or do they?

"The More I See You" has a verse. This I did not know, but Billy Eckstine on Motown (sic) tells me so.

One more time?

I get it now - rightness should not need drama, it should just be right, that should be enough. And it is.

amazon.de vendors cannot/will not ship to the US? at least for this item?

Not as easily Googled as planned, but.. https://www.discogs.com/label/649156-Yupiteru-Industry-Co-Ltd https://www.discogs.com/label/913905-Seeking-For-Jazz https://www.discogs.com/label/136512-Atlas-Record-2 https://www.discogs.com/label/936184-West-Coast-Jazz-Today

Dee Barton & Efrain Logreira kicking the shit out of a (mostly) cheesy chart of "Up, Up, and Away". Interesting selections for a Kenton concert # Disneyland 1968: 1) My Foolish Heart (arr. Dee Barton) 2) Fitz (Gene Roland) 3) Up, Up and Away (arr. by Tom Senff) 4) Woman (Dee Barton) 5) Sunny (arr. Stan Kenton) 6) Artistry in Rhythm (Stan Kenton) 7) The Singing Oyster (Dee Barton) 8) Granada (arr. Bill Holman)

https://www.nytimes.com/2017/09/14/arts/television/hal-tulchin-90-dies-documented-a-little-seen-black-woodstock.html?rref=collection%2Fsectioncollection%2Fobituaries In August 1969, Nina Simone took the stage at Mount Morris Park in Harlem for a remarkable performance in which she sang “To Be Young, Gifted and Black” and recited a poem that asked, provocatively, if her audience was ready to “kill if necessary,” “smash white things” and “give yourself, your love, your soul, your heart, to create life.” Ms. Simone was one of many artists, mostly African-American, who appeared that summer at the Harlem Cultural Festival, a series of six free Sunday concerts. Stevie Wonder was there, as were other popular music acts, each of which could have attracted a big crowd on its own: the 5th Dimension, Abbey Lincoln, B. B. King, Sly & the Family Stone, Herbie Mann, Hugh Masekela, Gladys Knight & the Pips, David Ruffin, Mahalia Jackson and the Staple Singers. The series, partly overlapping with another music festival being held in upstate New York that summer, became known as “the Black Woodstock.”... Mr. Tulchin’s footage did not fully disappear. Some of it was used in two television specials shown that summer. And some of it was seen in two Nina Simone projects: the “Soul of Nina Simone” (2005), a combined CD-DVD, and “What Happened, Miss Simone” (2015), a documentary by Liz Garbus. One of the few people who have seen all the footage is Joe Lauro, the president of Historic Films, an archive of music and entertainment film that restored, digitized and licensed Mr. Tulchin’s tapes for a while. “The material is amazing,” Mr. Lauro said in a telephone interview. “He used all his expertise to film something extraordinary.”.3.. Mr. Lauro began working with Mr. Tulchin in 2004 and teamed up with the filmmakers Morgan Neville and Robert Gordon in a plan to turn the videotapes into a documentary film. But within a few years the deal had unraveled over financial issues.... Harold Monroe Tulchin was born to Jewish immigrants from Ukraine in Elizabeth, N.J., on Dec. 23, 1926. His father, Leo, was a machinist and a supermarket manager, and his mother, the former Clara Fisher, was a homemaker. He graduated from the University of Iowa with bachelor’s and master’s degrees and studied acting and directing at the Dramatic Workshop in Manhattan. From a job in programming with Sterling Television, a syndicator, he went to the advertising agency Young & Rubicam, where he worked for President Dwight D. Eisenhower’s 1956 re-election campaign, his daughter said. He then began directing live commercials for shows like “The $64,000 Question” and “The Philco Television Playhouse.” He became an expert in the use of videotape, especially in commercials... The documentary might still be made. A producer, Robert Fyvolent, said he had lined up a director and had an offer to finance a film that would ideally be released in 2019 for the 50th anniversary of the festival. In a telephone interview, Mr. Fyvolent said that until a month ago Mr. Tulchin was pitching ideas for marketing the concert footage, such as turning some of it into webisodes. “He was thinking outside the box,” Mr. Fyvolent said, “and had strong opinions about what he wanted to try.” Simone's performance here: http://www.dailymotion.com/video/x1tfgn6