Teasing the Korean

Phil Moore - New York Sweet - Mercury (black label, stereo) Love the smell of Mercury LPs from this era!

Red Norvo Trio - The Savoy Sessions. with Tal Farlow and Charles Mingus. 70s twofer of early 1950s sessions. Mono.

Thanks. Didn't know about that incident, but it all makes sense considering.

I'm curious how Mingus felt about this trio in retrospect. Did Mingus talk much about his time with Red Norvo much in later interviews or writings? I'm not sure I ever encountered anything.

NP: Mr. Oscar Brown, Jr. Goes to Washington - Fontana (pale blue label, mono). Live LP from the 1960s.

I have three of these volumes. Lots of stuff that never otherwise made it to LP, at least that I could find. This stuff must be on CD by now, in some form, I'm guessing.

Yusef Lateef - The Doctor is in and out - Atlantic This album is WILD!!!

Presenting Edu Lobo - Philips (white label promo, stereo)

Slightly off topic, but related: One of my pet peeves is getting a later pressing of an LP, with a later label design that does not match the aesthetics of the music. For example, I mentioned elsewhere spinning a copy of Mancini's "Mr. Lucky" with the orange 70s Dynaflex RCA label. It happens to be a great pressing so I held onto it, but it's offputting. With Blue Notes, I prefer to see the older white and blue label with music from that era, but beggars can't bee choosy. The way Blue Note vinyl has skyrocketed in recent decades, I'm mostly hearing Blue Note on CD now. But, yes, I love the Blue Note logo on ablum covers - an unusual design compared to other labels.

Stanley Black - Exotic Percussion - London Phase 4 (green & white label, mono). One of my favorite non-Baxter, non-Denny exotica albums. Mono is much better than the stereo.

Spinning some jazz/pop vocals while cooking dinner: Tony Bennett - The Beat of My Heart - Columbia (6-eye, mono) with Sabu, Candido, Art Blakey, etc. Peggy Lee - Black Coffee - Decca (10" mono, black label)

Listening now to "Twisted Nerve." This is the only jazz-oriented score I've heard by him other than "Taxi Driver."

Thanks for sharing Allen!

Yes, I love "Buddwing," maybe my favorite overall. Over the years I've found many of his best ones, but a few have eluded me. Why would any one of those titles be any harder to license than anything else? I could see the problems with a box set. Yellow Canary and Buddwing are both on Verve - that would have been a nice twofer.

"Shock" and "Panic" have been reissued as well: http://www.dustygroove.com/item.php?id=wmyty47tsd&ref=browse.php&refQ=kwfilter%3Dshock%2Bpanic%26amp%3Bincl_oos%3D1%26amp%3Bincl_cs%3D1 A friend of mine told me that these used to be available through comic books and monster magazines! Allen, did you ever dig up the info you had on Hopkins from your forthcoming 1950s jazz book?

It's a great record cover. If I find one with an LP inside, all the better.

I won't - especially if he monkeyed with technology for the full duration of the tune instead of the first four bars.

Why didn't they just spend the time fixing the opening bars, where the flutter occurs, and then crossfade this into the analog master for the rest (vast majority) of the tune?

I hear you. I suspect that more and more of the music I care about will be available only through pricey limited edition CDs or cheap digital downloads.

Thanks, I'll try that!

"Print" feature was greyed out. Any trick around that?

???

I didn't mean to imply that mp3s were a superior format to LPs, CDs, or reel to reel tape. I was trying to say that the mastering on these is much better than the mastering on all that 90s Ultra Lounge stuff, which were probably mastered to match the levels of then-current rock/pop CDs (the bass on the Ultra Lounge series is artificially heavy). I'll take a superior mix/mastering job on a compressed file over lousy mixing/mastering on a CD quality file. Of course, if these superior mastering jobs were available on CD, that would be my first choice. But that is not likely to happen.

I've never found a better-sounding version of this album than the original turquoise. The CD sounds like it was mastered from a cassette.

Regardless of whether the mono albums were folddowns or not, I prefer everything on Blue Note through at least the late 60s in mono, and I always hit the mono button on stereo BNs. It brings everything into focus better, and you get a little more bass and piano in the process.