JSngry

Yes. I started hearing that kind of thing on my records, put a new belt on the TT, and like magic, the problem fixed itself. So, yeah, that might be a factor. Might be.

I hear it, slightly, not enough to make me jump out my chair screaming, though. But if that effect is not present on earlier issues, the either the new version is too cleaned up for it's own good or else something happened. But that first clip, is that from a new LP? That thing's noisier than fuck. It's mid-price used bin quality, at best. I'd be more worried about that than I would this other thing.

up? Chicagoans?

Can't access the clips right now, but there's a big difference between dissonance and pitch warble. A dissonance can give you a palpable sense of, uh..."vibrational friction", but that's entirely different than pitches actually moving around...

Serious question - are you saying that there is "piano warble" on your older pressing, and that's it's more noticeable on this new version? Or are you saying that it's not on your older version at all? It's been so long since I listened to the album at all that I couldn't tell you what was on there in terms of anything like this. I've got one of those 70s blue label LPs, no idea who pressed it, though. Been listening to it on CD for a few decades now (when I do listen to it). Makes me wonder if it's been there from the beginning and now the more they clean it up, the more noticeable it gets?

Didn't Webern wear no drawers?

did he then strip naked to prove it?

Q.E.D.

Troggs - great records, nothing more. Melanie - Go figure. Marsailis - fuck that shit. Why is any of it still more than a curiosity in history's dustbin? What merits it not just going away? Because people love to be told that they're part of something great. It feeds itself, people love being told that, then they get sold that, because buying makes it so. So much - SO much of the "Rock Era" was nothing but vainglorious naiveté at the service of limited musicianship and immature intellectual intention. But rather than laugh it off as wow, that was fucked, sure glad we got over THAT, it's held on to as some kind of moral/cultural apex of humanity. It's bullshit. A bunch of (mostly) mediocre talents executing (mostly) mediocre ideas for a (mostly) too high to tell any difference crowd of young people who (mostly) never figured out just how mediocre the whole damn thing was. No, they were stardust, they were golden. That generation has not made the world a better place because they have no humility about their place in history. Instead of taking it as a warning, a trap,, they took it - and still take it - as a triumph, and then got busy over the next 50 years not having a clue about what's bullshit, what's a trap, just how big a group of suckers they're being played for, and still are being played for. The planet is fucked. Societies are crumbling all over the world. Alone is the new community. and then, of course, Viagra. To look back at this Woodstock thing and celebrate it as a time before all this went wrong without seeing that this is the fulcrum point where it all began to have to go wrong is just one more proof that vanity is the overriding defining characteristic of our generation.

Shankar at Monterrey was delightful. Shankar at Woodstock made no sense. One crowd was on the way up (or so they thought), the other on the way down. But if you were lucky to have access to a good cutout bin, you could get Shankar and other Indian musics out the wazzoo on World Pacific LPs. There were a lot of them!

Boomers have ruined life for everything and everybody. They've been so busy trying to be all stardust and shit that they've never developed any sense of humbly contributing and then getting out of the way. They want to look young forever, fuck forever with hard-on-demand dicks, have jobs forever, make all the money forever, and hear their fucking lives played back in the mirror and on the radiotv shows forever. They're self-absorbed vainglorious mega-leeches. They don't give anything back to the world, they just hold onto it for themselves. Boomers have no idea how much younger generations really, truly despise them because they won't get out of the way. We're lucky that they're self-destructive pussies, these younger generations, otherwise we'd all be out of the way now in ways as unnatural as those we use to stay in the way.

If one will use Wynton & Branford to justify Woodstock, I think that's a perfect example of how damn near everything has failed due to inherent weaknesses being used for prideful exploitation rather than humble rehabilitative purposes.

On a board with a history of a seemingly boundless capacity for WTF?-ishness galore, this thread might well be the most WTF?-ish.

Have you read Erle Stanley Gardner's The Case Of The Pointillistic Penis?

A modern-ish, "Four Brothers" style sax section, really hoary repertoire, dance-band charts try to split the difference (but don't really succeed), and whoever Rosalind Patton was, she sounded pretty good in a very Ginny Powell-ish way.

It's in very fine print, but it is. EuroMusiPorn knows its place with these two:

It's fine, you can hear all the notes and all the instruments and nothing detracts from that except maybe crowd noise, and the sound qulaity there is goo too. Performance? Iit's a gig, no doubt a so-called "casual", meaning that somebody gets a gig, they call cats up to make it, and then they all show up and play a common repertoire that is familiar to everybody there, players and audience, no rehearsal needed. There are people who might listen to this and say, well, I was expecting better, and to them I say, why? Based on what? It was a gig, a one-off, not meant to be recorded. It's not the type of thing you listen to for bedazzlement, it's the type of thing you listen to to hear people play a gig. If that's not anything like what you want to hear, stay away, because that's all it is. As such, by those standards, there are as many pluses as there are minuses by other standards (puns not intended, but unavoidable). But it's always entertaining to me to hear Sonny Red, one of those guys who seemed to have been in a perpetual state of "getting it together". Here, he's rambunctiously under the spell of Joe Henderson, and for me, it's a gas to hear that thing going on on this record, one more chapter in the ever-wandering saga of Sonny Redd.

Sonny Red so far up in Joe Henderson's stuff it ain't even questionable!

A pairing of Sure 'Nuff and Black On Black. The former is pleasant enough, but the latter, with Rusty Bryant & Melvin Sparks both in fine form, definitely encourages and rewards a much fuller engagement.

Discretion is the bitter part of Valium.

Yeah, you young people take that kind of thing for granted. In my day, the only way you got alcohol at a cinema was if it was a prono house. On a less serous note, though, I wonder what they used for the Vivaldi and Couperin. Think they just hired some local cats to go in and do a read-down? That''s essentially how they handled it with Coltrane, it looks like, here''s a few bucks, get a studio and give us some tunes we can use. Seems like they were working with that kind of budget/esthetic.

You'd think they could at least throw in a voucher for a box of popcorn or some Junior Mints, do that cross-marketing thing to expand the size of the jazz market, you know.