JSngry

Oh yeah?

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John Litweiler, Chuk Nessa, and Larry Kart all on the same board? HELL YEAH!!!!

I mean the remixing of the session tapes to create a new master tape. Isn't that what happened/happens a lot these days? Re-E.Q.ing, panning, etc? Is that called "remastering" or is that just "remixing"? And are the terms used interchangably, if carelessly?

Chuck, what are the odds that Rudy would dramatically alter the sound (or even alter it at all) when making a new metal master? Especially when Alfred was around? And for clarification, am I wrong to use the term "remastering" for the process of "redoing" the master tapes, which is how I meant it in my previous posts? In other words, can the term "remastering" apply to both the re-creation of a master tape and the creation of the metal master from those tapes?

She's PURTY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

That could be true as well.

Her's and Chachi's. Milwaukee in the 1950s was a town of diverse, if discreet, preferences. No thirst went unquenched.

Not at all. You DO know that Chuck's father was really Bob Buhl don't you? Mrs. C was a Baseball Annie like you wouldn't believe, and Braves' home stands were about the only time that Buhl's (lifetime batting average .089) bat made contact, if you get my drift. Given the nature of Chuck's paternity, and the true vileness of his biological father, family tension was inevitable. Given Howard's childhood background as a numbers runner in Cicero, Illinois, the odds for a genteel resolution were not favorable.

Well, yeah. That's a whole 'nother thing there, absolutely. What I'm talking about is the difference between various pressings of original masterings. I don't think that BN albums got truly remastered until the reissues of the early 1980s (somebody correct me if I'm wrong about this). So that would mean that quality differences between various pressings would be more likely to do with things like the quality of the stamper (and again, I suspect that the original stampers got fully used, if you know what I mean), quality of vinyl (the 70s were notorious for the introduction of lower quality vinyl, some of it recycled, and some of it actually containing debris from old labels and stuff like that - an extreme example, but true!). All I'm really saying is that the "first pressings sound better" line has some validity, definitely, but it's not really a mystery or a product of "behind the scenes" manipulations of the master tapes. It's just a function of the LP manufacturing process. Second pressings are going to sound better than third pressings, and on down the line. By the same token, if you get a later pressing, chronologically, but it's made from a new stamper that's replaced an old, worn one, you're going to get a higher quality product that might well rival or equal the very first pressings, assuming that everything else in the manufacturing chain remains the same, which is far from a given.

Yeah. I usually find added tracks and remasterings "enhancements" to the original, but in this case they create an entirely new experience and perspective. The original album was essential. The cd reissue is... uberessential!

I always thought that had somehting to do with the scandal at the leopard lounge. I know Howard wanted that Grand Poobah (sp?) gig real bad, and killed a dude when he didn't get it. I heard that Howard offed his oldest kid just so that Richie could get all the play. Oh, the stories I could tell! Let's just say that the Ramseys ain't shit compared to the Cunninghams! Rumor also has it that Arnold was the trigger man on the Chuck job, and that Mr. C offed him and set up Big Al when Arnold threatened to squeal. But you know how people gossip.

I'd say Mr. Ricci is reading threads a bit too much. Yeah, we're like that here - clique-ish but addictively intriguing. Kinda like junkies who always have money and a solid connection....

It's tempting to think of Brando as a brilliant talent gone loony, and perhaps that is the case. But only partially so, and even at that, his brand of looniness was as unique and powerful as his best acting. A true giant.

Yeah, keep it up and you'll be lucky to make Chachi!

I'm no expert, but I'm pretty sure that the reason first pressings have the best sound is a simple one - the stamper was fresh, had been used less (or not at all) and produced a more fully accurate copy of the master. This is dealt with a little bit in the cd reissue of the LOUIS ARMSTRONG PLAYS W.C. HANDY album. I don't think it's anything as elaborate as new remasterings for different pressings or anything like that. BNs (and other jazz labels) didn't exactly press in voluminous quantities, so the same set of stampers probably got used for quite a while, which could indeed very well lead to a little bit of deterioration of quality in later pressings. OTOH, I'm tempted to say that any system that brings out radically different sound between a first pressing and a later one might be a little TOO good, if you know what I mean.

You're welcome, and fully understood. Oh, btw - watch out for that Mrs. C - she's bad news, if you know what I mean. I mean, how else do you explain Howard going into the priesthood and changing his name from Cunningham to Dowling?

Come, mister taliban, tally me bananna. Daylight come, and me want go home.

Have you seen my drivers license photo? Here it is: Bastard inDEED!

Jim, What do you think AAJ is? It wasn't until the last couple of years that someone (Nils Jacobson) volunteered to step up and help. In the last year I've also received help from my friend Mike Lorenz and John Kelman. It's done on a shoestring and I produce it from my home. Believe me, it aint glamorous behind the scenes—you can ask Shawn. That said, I do know a thing or two about databases, programming, web design, publishing, the needs of the industry, etc., that why AAJ’s look will also be a bit more refined. Mike Fair enough, and again, no insult intended, honestly. A gentle, good-natured, tweak, yes, but nothing more. I'm a kidder, not a fighter. It's just that Alan has been doing his thing for so long, and has been a "member in good standing" on this and other boards for so long that he's come to be "family" for some of us, and as such, I don't see any need to automatically abandon my support of his efforts. That in no way means that I wish any competition harm, resent an attempt to compete, or any thing like that. That's unrealistic, and a bit silly, really. It simply means that "my guy" is still going to be "my guy". I'm sure that you can understand that, and I'm sure that you've got people who feel the same way about you and your efforts. I'd be surprised if you didn't - you work hard at doing what you do, and have been doing it for some time. Anybody who has stuck with you for a while and didn't feel a sense of loyalty as a result would have to be some kind of a weasel in my book! Hey - it's all about growing the audience, right? Lord knows I'm all in favor of that. I sincerely hope that your thing does good, and that Alan's thing stays healthy and viable as well. That would mean that the audience for the music is a large and diverse one, and I don't think that anybody wouldn't wish for that!

I think you know how I interpret it. On a completely unrelated note, check out this really neat painting I found online: Cool, eh?

Ok, I'm fucked up here. I'm doing THE LESTER YOUNG STORY VOLUME 1, not SUPER CHIEF, and it IS "Shoe Shine Boy", at least on both of the above sets. SUPER CHIEF doesn't have the alternate. But it's one helluva album anyway!

Maybe the stamper was cleaner.

MILES IN THE SKY is just a plain fukkin' WIERD album. I love it to death, but I'd be lying if I didn't say that there was a vibe to it that's most unusual. Personally, I think it's that Miles' studio music of this period was on a continually inwardly-focued trip, and this album was the apex of it. Look at the covers, front and back. It's all about "look but don't touch". Especially that jungle kittty's head coming out of Miles' crotch. But the front cover, with a split head opening up into all sorts of concentric rainbow shit, that's like "plenty stuff in here, but it's IN HERE, not out there, and you gotta come and get it if you want it, which ain't gonna be easy, 'cause I got a growling lion coming outta my groin. Deal with it." FILLES otoh, was the warning shot that things were going to start gettin a bit more in your face. And they did, although the "inward" direction continued for quite a bit afterwards. We just didn't hear it at the time, 'cause it stayed in the vaults. But hey - they're both albums that you eventually gotta have and come to terms with if you at all care about music that goes beyond the bop/hardbop parameters yet still remains "jazz" for anything other than recreational purposes. GOT to.

What's a good cd source for the alternate? Wish I could tell you. I'm still doing the SUPER CHIEF LP thing from the previous century. And my bad - it's "Shoe Shine Swing", not "Shoe Shine Boy".