JSngry

Lance Rentzell Roman Polanski Michael Jackson

Best Wishes!

Vickie Carr Him The Man Who Got Away

And I'm pretty sure I've never heard Dexter Gordon sing before! (@ 15:38)

The Mono BSB on 78: Better sound, but the side ends right where the drums kick in.

I think the guy's name is Jim Neumann, the original owner. He's a doctor or something, doesn't need the money, and looks at Beehive as his personal labor of love. That's the picture I've gotten, anyway. Dusty Groove regularly has BeeHive inventory on hand until they sell it, then they get some more. People wanting to explore the catalog should check there at periodic intervals.

JS, the phrase I think you're looking for is "the dog's bollocks." And hell yes, this set most certainly is the dog's bollocks! I can't wait to hear it. Ah yes, that's it. I never was good with provincial dialects, sorry.

Many happy returns.

Poke Salad Annie James K. Polk Jackson Pollock

Took a while to find this one, but Welcome To The Board present Part Two. Both from the mono version of The Glenn Miller Story OST (although neither are actually part of the OST, hey, what a wonderful world!). apparently Decca called for a re-recording in stereo when the OST came out in stereo, and these mono versions pretty much went away until the Mosaic Decca set. Or something like that. For all I know, they might be common as hell now, but if not, here you go! All I can tell you is that when my folks put on that LP (and they very often did) these two cuts (one at the end of each side) were like...whoa..just what is THIS? And that's from when I can remember, like, age 3. How long before that, who knows? You don't put those type ideas in a kid's head from Day One (more or less) and not have there be consequences. Just sayin'...

Yes, Handy, Fats, and don't forget the album with Duke. You'll not avoid the vocals, but the tempos seem to be taking into account that Pops (can I call him that?) had been laying of the axe for a short time. The result is some glorious phraseology, even by his standards. And Zone? Yes. BIG Zone. Trumpet? What trumpet? Vocal? What vocal? LYRICS? What lyrics? It's all one big Louis Zone, and that's a Zone with which I don't quibble. And in a special Welcome To The Board present, here's one that I've heard all my life (possibly literally) and one that I didn't realize had gotten so rare until I went to replace it.

Wilbur Ware Institute = Ware's & Jordan's widows (as I understand it), so maybe it's all good in that regard, money will go where money should go. One would hope. And I'm not Japanese, nor do I do the canvas shopping bag scene, but In the World, yeah, that's the bulldog's ox, or whatever the phrase is. Glass Bead Games has never really struck a strong chord with me, though (minorityship here fully stipulated). But oh well. This gonna be one hellagood (is that how they say it?) set. Sorry about no Muriel Winstone, but ain't no living in a perfect world (as they say). That ain't a perfect record, or even a necessarily good one. But it's good some Tadd Dameron pop songs, and it's got Clifford Jordan, so. consider the notification posted (in the vernacular).

But wellnow wait but - if the emphasis is to be, as has been posited earlier, on the composition itself, would not letting the recording ambiances take precedence over performance preferences be shifting the emphasis elsewhere? If you really want to hear the composition played to your preference, then I'd think that the adjustment to a different recording ambiance would be but a monetary concern, and then you're back into it. I mean, 21st Century Hearing = Never Having To Say You're Always In One Place At The Same Time, as does some of Beethoven's harmonic choices. so, it's tight like that. You're talking Texan. Please translate. Nah, you've seen the score often enough. You're ready to interpret it now. And Squire, Ubu, Rey/Roi/Roy, HEY - don't leave. Your enthusiasm is contagious, and your lack of pre-programmed expectations is welcome.

But wellnow wait but - if the emphasis is to be, as has been posited earlier, on the composition itself, would not letting the recording ambiances take precedence over performance preferences be shifting the emphasis elsewhere? If you really want to hear the composition played to your preference, then I'd think that the adjustment to a different recording ambiance would be but a monetary concern, and then you're back into it. I mean, 21st Century Hearing = Never Having To Say You're Always In One Place At The Same Time, as does some of Beethoven's harmonic choices. so, it's tight like that.

So, I guess the proper answer to the original question is "could, but shouldn't, or if so, keep results private"? Complicated question, but a simple answer!

That could easily be a Wurlitzer.

Dear Heloise - My mother-in-law swears by it to stop "the heartburn", and she's older than life itself. Must work!

Upon further review, fuck it. Them Marsillyes can have "jazz", or what's left of it. What they don't know won't hurt anybody that don't deserve to be hurt anyway.

Or at least a CD release party?

Has Branford had a slight stroke or some other medical occurrence that might cause cognitive dysfunction at random varying intervals? Those of you who know him (and who would care about such things,), please have him get this checked out at a mutually convenient time and place. Me, all I can do is go all Danny Thomas at that stoopidshit.

So...interpretation = tour guide/guide book? That seems like it would make for not much fun, like ok, here's what it is, isn't that grand, now aren't you glad you came, back on the bus, thanks, do come again, and tell a friend while you're at it. I mean, that's all very...functional, but it kind of reduces the music to being Sound For People Who Can't Read A Score instead of Here's Some Great Ideas And Here's ONE Way To Look At Them (There Will Be Others!). And there's a lot of "classical music" that can be reduced to Sound For People Who Can't Read A Score without too much of an overall loss. It is what it is, math and architecture and all that('s good), and you know that due to time/place that was (more or less) the primary intent anyway and just don't fuck it up and it's Good Enough, if you want more, hey nice to have time for that in this day and time, so smoke 'em if you got 'em, and if you don't, oh well. At this point in time, not that big of a deal, really. And becoming even less of one. But you get something like this, no, there is so much music there, so many ideas, so much that does not have One Clear-Cut Meaning (because, trying to make it real? compared to what, exactly?), that, hell, Failure To Consider Before Interpreting is just a cop-out. My one Beethoven joke (and a historically inaccurate one at that) is that he was blessed to be deaf as he entered the last years of his life because he didn't have to listen to cats in rehearsal ask if him did he MEAN to write this note here I think this MIGHT be a copyist error, can you check it out please? "Culturally" worlds apart, but if one can dig the harmonic gamesmanship of, say, a top-shelf Dewey Redman solo, then late Beethoven should be a delight. And vice-versa. Changes, baby, changes! At that level, it's not "classical" and it's not "jazz", it's music - setting up expectations and resolving them in ways, all (as in not just and/or only some) kinds of ways. It's not "hearing" versus "feeling", it's hearingfeelingfeelinghearing! That deafass motherfucker couldn't "hear" shit by then, but he could HEAR those vibrations (literally). Changes = nothing but vibrations (literally). Don't dampen those overtones! Just ordered the Furtwangler. If Ubu & Jeff both give it the rave, I want to hear it. Used copies cheap aplenty on Amazon.

I've long known just the Toscanini reading, which was enough for me, until Chuck hipped me to the Horenstein on Vox (and a later, live) version on YouTube, both of which are about as anti-Toscanini as can be, and both of which retain the full vigor and detail content as Toscanini's. The Bernstein on DG, though, just falls flat for me in spite of the marvelously clear recording quality (although if you get it even halfway right, this is one of those pieces where there's so much "there" there that you'd almost have to try to fuck it up in order to actually do so). Neither Toscanini nor Horenstein are on that DG thing, though, so I'm left wondering if this isn't one of those label pimptools, even if it is useful, which I've no doubt that it is. Even if I learn the technical details, from it, am I going to be encouraged/directed towards non DG recordings? If not, then short term win for the tool, long term loss for the tooled. But that brings us back around to the opening point - if/once one has heard enough interpretations of the piece, can one perhaps prefer one movement of one reading to the same movement of another in such a way that a compilation of preferences could create an ideal personal performance of the entire piece? Or does everybody get every movement "just right" within its own performance? Or do people just not think about this kind of music like that? Is this the one? Yeah, is that the one?

Junie Morrison Juni Booth Jun Cha

The Marshmallow site has a few samples up in WMA format...need to remember this one when it comes out, for sure.