JSngry

Make mine lime!

On a snare stand?

That was Ellery's objection, not mine. Mine was merely that one should exercise discretion in the dealing of such material, out of respect for it's nature, and, by extension, for the artist his/her self. In other words, a "private recording" becomes significantly less private when it's put up on the Internet (even for free) for unlimited/unrestricted access.

RECORDING RECORDING RECORDING RECORDING RECORDING RECORDING RECORDING I'll bet that in the studio fo GO! that Billy wasn't at all loud. I'll also bet that Alfred had Rudy record him a little hotter than usual, and that the digital remastering accentuates that.

http://www.bagatellen.com/archives/reviews/000868.html Review of the Dexter Prestige box coming soon. Thanks to Joe Milazzo for the opportunities, the patience, and for taking a chance by sending a player to do a real writer's job.

If that's the way you fix things iny our houses ... held together by Duck Tape? Just the stuff that gets a totin'.

Spoken like a regular Red Green... Is that you, Winston?

March 8 & 9, 2004.

Y'all need to do a little bit more handy work 'round the house, it seems...

Just took a dip into those $9.99 non-Tapscott Nimbus CDs. Should be fun!

That's the whole recording/mixing/digital remastering conundrum coming into play, which goes to what I'm saying about learning to "translate" a record to be able to hear what was really played and how it really sounded. People who either play a lot of gigs or hear a lot of live music are at a distinct advantage in this regard, I think, because they have a better "reference point". I remember the first time I heard Joe Henderson live. 1980, and I was 24. I was expectingthis HUGE tenorsound. But it wasn't that at all. The guy had a full sound, sure, and it projected extremely well, but one thing it was not was loud. Surprised the hell outta me, but when I went back and listened to the records, I began to discern how the recording process can create it's own auditory "illusions". Same thing hearing Eddie Gladden with Dexter - live, there was this HUGE, glorious "SWOOOOOOOOOOOSSSSSSSHHHHHHHHHH" of cymbals all damn night. I listen to the records, and it's not there, not like that. Not even close. So yeah, records need auditory translating sometimes, especially when it's a less than stellar digital remaster of an analog original.

Ah yes - the Windows equivalent of Duck Tape.

Well, ok, but even at that, listen to the tone he gets out of his kit on those louder dates - it's still "soft" in comparison to a Blakey, or an Elvin, or a Max. Billy's kit did not seem to be tuned in such a way as to even be capable of being "loud", at least not in a relative sense. Same with his cymbals - his overtones were always controlled, and never turned into white noise. How he's recorded and mixed (Rudy mixed on the fly, remember) has as much to do with it as how he was playing. He's recorded really hot on GO!, for example. And on THE GIGOLO, yeah, he's playing harder than hell, but the actual sound of the kit isn't really "loud" - it's the recording that captures (brilliantly, imo) the power of his playing. But if you put his playing there in the same room with Blakey on a normal day, Blakey would probably drown him out, figuratively if not literally. Records don't sound like live playing, even the best ones. You gotta learn to "translate" what you hear on a record to grasp what it most likely really sounded like in the studio. Throw in all the analog-to-digital transfer funkiness, and all bets are off.

No chaperones, as far as I can tell. This is a business trip, pure and simple. Most of thte other guys from his store are in their early/mid 20s. However - he's only 18, and is spending his own money, such as it is. He'll get reimbursed up to $30/day, for food only, and only after he gets back. That alone will severely limit his options... However, I warned him about you, Rachel. Told him that you had a whip, and to never say no to anything you said. (not really, but I did give him some names to "look out" for, so if a total stranger walked up to him and started being really friendly he wouldn't call security...)

I doubt that you're deaf, but yeah, you're totally wrong. And it's not often that I say that as unequivocally as I am now. Either that, or else we have completely different definitions of what a "basher" is.

Yeah, him and Bondo. the one who fixed the dents in the sleigh.

In a world filled with real b-a-s-h-e-r-s, Billy's hardest playing barely gets the b & the a. Playing hard is not bashing. Hear me now and believe me lay-tah.

A little knowledge can be a dangerous thing.

A BASHER????? Well, ok, but I'm an UNabashed lover of Higgins from those years.

Remixes, sorta hip-hop made from jazz. Sorta. I've heard the "Manteca" thing - it makes for a good dance track and an interesting listen once or twice, but I'd not see fit to go beyond that with it myself.

Well now, my son ain't exactly micro-cranial his ownself neither...