Teasing the Korean

I don't think I've heard many alternate takes of Bird during the Verve period. Do his solos vary as much from take to take as they do on the Savoy/Dial material?

Go back through the thread and you will see the conversation quickly changed from Wynton specifically to the concept of "repertory" jazz in general, which is a much more interesting conversation. I could care less about Wynton, but I am fascinated by contemporary culture's collective obsession with its own recent past, and I readily admit to being guilty of participating in this phenomenon. Repertory jazz is one of its many manifestations.

Those early-model, single-disc CD players are great. They are available at a Goodwill near you for short dough, and will perfectly play discs that many more recent players will not.

Of course, but those other tools were not available prior to the 20th century (for the most part), so notation is the best we have, until time travel is perfected.

Interesting discussion and great points by Larry and JSngry. I agree with Larry that (paraphrasing) there are many more factors involved in attempts at jazz "recreations" than exist in "classical" music. While certain approaches have gone in and out of vogue, classical musicians and conductors have been dealing with the same written scores. Musical notation, of course, pre-dates audio recording, and that was the whole point of musical notation: So that something written by Bach could be played in different times and different places. Musical notation was the audio recording of its day. It is not perfect, but it offers a higher potential for precision in execution than does jazz or any other aural/oral tradition, where there are so many subtle stylistic nuances tied to era, location, culture and even recording techniques. That said, I do not discount the fact that there are very talented musicians- I've known some of them - who, between their skill sets and musical interests, have an uncanny knack for recreating certain styles or periods of music broadly considered "jazz." If someone has the chops and knowledge to pull it off, and that's what moves them, who am I to tell them not to do so? It will never be a replacement for the real thing, but hey, I'll never get to see Django Reinhardt live, so it makes for a pleasant evening's entertainment. The end result may not be "jazz" by a purist's definition, but it can certainly be "music." To be clear, WM and the LCJO do not fall into this category.

I can respect artists who set out to specifically re-create an aesthetic or style, if it is done well and presented without any pretensions of it being any more than what it is. But there is something very smarmy and almost self-righteous about the way this crowd apes its heroes and tries to pass off the results as something contemporary, original or relevant.

I don't think I've heard many alternate takes of Bird during the Verve period. Do his solos vary as much from take to take as they do on the Savoy/Dial material?

I'm totally with Shatner on this one. And he's not getting paid to be top notch voice-over talent: He's getting paid to be William F*cking Shatner.

It was truly a combination. Because polyester does not breathe, it is harder to sweat out the toxins, so truly, the polyester exacerbated the effects of the drugs. Now, many of the players who are keeping jazz relevant by incorporating the sounds of today (e.g. Michael Jackson, Christopher Cross, Billy Ocean, etc.) do not do drugs, so the polyester/toxin issue will be less important. Also, they are developing new space-age polymers that combine the classic look of vintage polyester with the breathability of cotton. When they use these fibers to create 21st-century leisure suits, even drug addicts will be able to wear them without fear.

I think if Charlie Parker were here today he would have Jheri curls to show how hip he is. Also, today's players need to wear leisure suits like Bill Evans did in the 70s to keep keep jazz alive and moving in new directions.

A nice, if somewhat late, example of Space Age Bachelor Pad Music. Is this on an album?

It should say "produced and arranged by David Axelrod" and it should be on the green and purple Capitol label.

That's Mitch Miller and Columbia. Same goes for Tony Bennett, Johnny Mathis, and everyone else.

He taught English at the University of South Florida. I have friends who took his class. Not sure what his specialty was. Apparently, he had a piano in the classroom, even though it was an English class. I was told that if the discussion was going nowhere and the students seemed bored, he would just go over to the piano and play Scott Joplin to wake them up.

Knowing your taste in music, Noj, I have to ask no further.

How is the "Funky Nassau" album by the Beginning of the End? I loved that single as a kid. Is the whole album like that?

There seem to be a number of compilation CDs. Does anyone know if there is a CD collection focusing on the early 70s stuff?

I have some CD-Rs from the late 1990s that have gotten some sort of film on them, I can't get it off. Some of them don't play at all. Some of them have a loud digital static sound throughout. I've tried to extract and reburn some of these but it hasn't worked. I have other CD-Rs from the same era that still play fine.

PM sent on the storage unit.

Juba Dance is a great example of Twilight Zone jazz.

RIP.

You would do well to introduce a Y converter into the chain to do the transfer in mono. It reduces distortion and strengthens the audio signal.

I'm no expert, but you could play mono records with a stereo "needle" always, but until the late 1960s, stereo records required a stereo needle so as not to get rurnt. That is true, but still, there was a change in mono grooves at some point to make mono records more compatible with stereo styluses.

What music did Neil Armstrong bring with him on that historic voyage? A cassette of the 1947 outer space theremin album "Music Out of the Moon," with theremin by Dr. Samuel Hoffman, compositions by Harry Revel, and arrangements by a young Leslie Baxter. RIP Neil.