JSngry

Bob could make some funny choices...not bad ones, mind you, just funny. I remember hearing the CD of Booker and Brass for the first time and wondering WTF????? Oh, ok, Bob took ALL the reverb out. ALL of it. A funny choice indeed.

It's discouraging to think that the market for this music is such that the consumer needs to pay more and get less in order for the cash to add up right for the seller. That's what it comes down to, right? In order to make X-amount of dollars, to get my money back (more or less), this is what's going to do it most efficiently. I can tell you this, though - I am not going back to LP-only for new releases. That makes no sense to me, in any way. If that means networking for digital copies, that's what that means.

How well did that set sell? Was it in print for a long-enough time to reach its audience? Lee/Lighthouse is great music, but Trane/Vanguard or Miles/Plugged Nickel it's not, at least in terms of stuff that is going to have deep implications 50+ years later. Deep pleasure, sure. But pleasure alone is not why you do a "full on" 12 LP/8 CD set of mostly unreleased material, is it? I don't know...part of me thinks I will want this and will get it, part of me thinks I will want it but leave it alone until a used copy comes along, part of me thinks that even if I do want it and do get it, I'll never listen to it at all, or not more than once or twice, and still another part of me thinks that it's too far in the rear-view mirror now for me to think too much about it at all. Now, the Lee/Billy band...too bad there's not this much of THAT...but how much of it could there be, do we have Lee's itinerary on file any where?

Street Team = get a bunch of kids to work for free. And then complain when the kids go after free music.

It's 2021...or will be when this comes out.

Wales, a town, but a bit of a small one. That's all I know.

Mnytime...IIRC, the car wreck thing was a hoax, but then he really did die from cancer or something. IIRC.

I heard from MG just this past week. He's doing ok, although apparently his location makes getting supplies a challenge. But thankfully he and his are alive, well, and hunkering down for the duration.

Not a dream, it was real! YES!

My memory is that a lot of us maintained "dual citizenship" between the two boards for a short time, I remember making an "open/goodbye letter" post about how totally insulting their new moderation policy and gotten...and then,checking back in for a little while only to find a land of promo posts and a few what seemed to be street-teamers posting, and then one day, yeah, it was gone. And then there was a time (I think?) when there were four open boards at the same time, the BNBB (briefly in it's newly neutered form), AAJ, and Jazz Corner.. I tried them all, but it didn't take long for this place to feel like "home" for me. Then there was the Great Day In Harlem board, but that place had some REALLY rigid moderation that killed all the fun of even going there, never mind staying there. But let us NEVER forget the old Verve BNBB...quirky, and promo-oriented, but an interesting place from time to time. What was the guy's name...Frank? No...anybody remember that guy? He was really "one of us" in terms of attitude and vibe. What was his name again?

I wonder if he was killed in a car wreck or something?

Just to float all possibilities, there is always the possibility of fluctating current affecting the machine speed, up to an including the possibility of the machine being battery-powered. If these are not the OG tapes but first-generation copies, who knows for sure? All kinds of weirdmicro-geeky possibilities here...including improperly stored tape gradually stretching over time. Never rewind before storing, we all know now, but not sure that was common wisdom50+ years ago all over the world? Yeah, most definitely.

Yeah, deinitely an instrument thing. As I'm sure is true for you and trumpet there are just certain instrument-specific things that are done certain ways that you can feel when the pitch is off more than normal. The whole Graz thing is jacked, pitch-wise, both with Sonny/Max and then with the Max/Freddie thing.

The BNBB tried to hold on for a while, but once they added some weird ass auto-censor filter, it took the route of assisted suicide and was gone within weeks. Before that, though, it was alive (but not well) for several months. I see that I joined on March 6, 2003. I was Member #3 (we used to be numbers! LOL). Jim & his brother (Use 3D?) were the first two. As I recall it, once the BNBB made it's move to become a controlled label-specific propaganda tool (which of course was their right), I wasn't more than a month or tow (at most) before Jim got this site going and actually made an announcement on the BNBB (chutzpah!) that, hey, you now have options, alternatives. At least that's how I remember it, an actual post on the BNBB. I'm not going to the mat on that one though...it might have been an email...but there was an overlap before this board started and the BNBB became Board Krypton.

I just heard it as a little "off". You know, you hear a note or a fingering and your mind says, hmmm, that's not how that happens, not on my horn, Listening to a lot of bootlegs of this vintage and earlier, it's something you just get a feel for and then learn to shrug off. Checking it out on the keyboard, yes, that was triggered by this thread. If you could get somebody to do the Graz trio tapes, withe trio with Max where Sonny literally sounds like an alto, and put those out at proper pitch, hey, redemption is yours@

How do they know that the Paul they got back was the real Paul?

Where / how did they find Paul?

Wow....asking for an informed scientific opinion now - is the new strain possibly going to be resistant to the new vaccine(s), or is that not how it works?

Okay, so what's this about there being a new strain of the virus in the UK that is significantly more contagious or spreads faster or whatever?

What's "magic: here is that their failure (refusal?) to catch it right there but to instead keep forging ahead sets up a wonderful dynamic where from that second on, it sould go wither way. sonny drops hints of it moving ahead but just as a tease. And then after they all move, they keep ath ambiguity of are tehy staying here or going back all the way through. Net result is a whole multi-dimensionality of "place", both implicit and implied' I've heard other gigs from this period where the players (Americans & British) get hung up, as you say, and it is often uncomfortable, faltering. But these guys, they just charge in, on, and ahead, and it gives sonny something to engage with. the whole multi-planar aspect of his playing that was the hallmark of his 60s work. Han Bennink is like some wormhole supercollider result of Baby Dodds and Max Roach, he's like, ok, you can go anywhere Sonny, I'm going to be everywhere you are going to be, no guessing, already there, and sonny is like, ok, let's see where all I can be with these guys...oh! Yeah! Anywhere! It's an amazing trio. they don't just avoid the pitfalls, they deny them altogether.

I actually put the year at whenever it was he came back to the US. I don't know if the circus was back in town, but he was back in the circus, and this time out in the ring, in full makeup. I mean, yeah, America can do that to a motherfucker, so I'm not really finding fault with him personally. But I'm not pretending about it either.

Back to Rollins...the Arnhem music is spooky...every tune sounds like it could be any of the other ones, and at any given moment is...this is some kind of metaphysical plane-shifting or something...since it's the one unedited cut on the Resonance set, "Three Little Words" just...where the fuck is that after it gets going? Sure here, but also here. And here. And...it reminds me of the quantum photography thing where they showed that one thing can be in two places at the same time. So we know that it is possible, and here the music is doing that. Even crazier still is the full bootleg CD #1 where even after the tag of "Four" becomes "Old Devil Moon", the feeling that it's still the tag of "Four" never goes away, even though it never overtly is. How do they do that? Threads of continuity get planted in the subconscious? How do you keep open enough to let that happen? Even with high-level improvisation, this doesn't happen, not this, this is the kind of thing that gets attributed to Celibidache, but this is not some conductor bending an orchestra/time to his will, this is "just" a pickup band playing tunes. And yet it happens. Sure as I'm sitting here(?), it happens here/there. Consumer, buy this set. It's a marvelous object and marvelous music, geek-quibblings aside. But also, know that there is more to the story than is told here. Proceed accordingly if you know that such things matter to you. I would think that ONLY a casual fan would pay $80 for a record (at least one that's not an auction/rarity).

Yeah, that's the realities of business. I get that. The realities of music are that one should never reject a bootleg, because you never know what's going to happen to it on the way to market. Sometimes value is added for the customer, sometimes value is added for the seller. You never know until you get there, so take it when you get it and then figure out which is which later. One personal reality - I am not going back to vinyl for a new release. Never. Been there, done that, had a blast, but...everything old might be new again, but then that means that I'm getting newer by the day, and I SO do not believe that bullshit!

I'm reminded of one of the most cruelly humorously sadistic musical experiences of my life, an afternoon corporate cocktail party whre I showed up ready to drink it out of the way and got there early so I could. And did. Long story short, the entire first set was spent listening to a guitarist and bassist easily a quarter tone aprt from each other, and both of them defiantly fending off the dirty looks of the other by waving their electronic tuners at each other to show that look motherfucker, I'M in tune, I ain't moving. The bandleader was too unwilling to stop the set, so the break waw a free for all of datadicking. I was definitely not drunk enough (but not for lack of trying, so I jsut said, "don't you cats use your ears?" And then headed for the bar, because, drunk enough was not yet happening. Point just being, my 90s era cheap Casio, whatever it's tuned to, has this one sounding just a teence sharp to A, and a buttload flat to Bb, which is in line with what it feels like to me, away from my horn. Of course, "correct intonation" has never been a particularly avid pursuit for me, so there's always that. Still...that's what my ears tell me, not jsut my cheap Casio. For that matter, my Tonette tells me that too, and that was my VERY first instrument.

Listening to the OG bootleg today...the edits are probably less egregious if you don't know about them (or in my case, halfway forgotten abot them), but to hear this music organically (as possible) is jsut...different. The trio dynamic is truly organic, at times foreshadowing Air, sortakinda...not exactly, but...you can hear things moving towards that gravitational pull. It was happening. Not that anybody at Resonace would care about that for their product, but still, there it is anyway.