JSngry

Nothing. But she was kind of a "sensation" for a while and I can't recall the last time I've heard about her.

https://www.nytimes.com/athletic/5516189/2024/05/23/automated-strike-zone-consequences-manfred/?source=pulsenewsletter&campaign=9894626&userId=14372387

That's a good record.

Three in fact!!!

Foggy Banderkeen - Power Lurch!!!

Bait & switch? Laufey Singer and cellist Laufey: ‘I hope to be a gateway to classical music for new audiences’ https://www.classicfm.com/artists/laufey/family-classical-music-influences-interview/

Cat Osspolussa - Barbs!!!

It's a great story with a very sad ending.

Ok, one person complains.

I like it because I've seen it actually scare people. Adults. So, question well asked! I never had this one:

Oh really!?!?!?!

Recorded at the same session as Picasso? Let's question that assertion. Or maybe Picasso was recorded a few years before release by Granz? Otherwise, Moe Asch. That makes total sense. I took the familiarity of the Selmer logi for granted, having played them fo 50+ years. But not everybody has had that exposure LOL! Another factor - Selmer was at this time really upping the game of saxophone technology. From the Balance Action to the Super Action to the Mark VI, Selmer horns were always developing means for easier, faster fingering and a more easily even tone. They had competition from King, Conn, and Buescher, but Selmer pushed hard and eventually won the game (the King Super 20 was the last real competitor). Ask anybody who has played other vintage horns - they can sound great and be played fluently, but it takes work. A Selmer (from Balanced Actions on) "solve" those "issues". Selmer went off tack for a while in the 70s, and today's players have all kinds of options. But at the time under discussion here, Selmer was in a kind of war to prove there superior technology, and they were fighting it to win. All that to say that if you wanted to position your product as a master horn for a master player, Coleman Hawkins was your guy. So that particular record on that label totally makes sense.

That's a pretty good record.

I'd love to hear who/how the first jazz solo saxophone recording came to be made. Who had the idea and how did they make it happen? Surely Hawk was involved in the planning. He was just so ready! And other than Hawk, there seems to have been no American involvement?

Parent Label: Henri Selmer Paris That's the instrument manufacturer.

How much does Amazon charge for those Corhinogical Classics CDrs? Some of the originals have become cost-prohinigive for me.

Shafter Poe - I Got Friends Here

There ya' go.

Say good bye to the chains! https://www.nytimes.com/athletic/5511226/2024/05/21/nfl-optical-tracking-preseason/?source=pulsenewsletter&campaign=9893778&userId=14372387

I don't think it was released as a commercial record for sale in record stores. It seems to have been a promo tool for Selmer saxophones. The Selmer factory was in Paris. More details would be welcome, if there are any still around.

This.

I'm tired of having to dig through piles and racks and stacks and trekking all over creation just to play a record. And then again. And then again. I'm tired of cluttering up everything with stuff that nobody wants after I'm dead. I have an uncle who lives out in the country and he has a burn pile. When we got everything out of my mom's house that we wanted to keep, we loaded up a trailer, took a ride to the burn pile, and that was it. Ash in less than an hour. Lovely, transient ash. I don't have a burn pile here in the city, and even if I did, what kind of toxic fumes from all this plastic are there going to be? Yuck. Kids - your Boomer forefathers have failed you in SO many ways. Learn from our mistakes of vanity, self-indulgence, and gluttony. Grow your files and lose your product. Blurp.