Big Beat Steve

Actually I've repaired (taped along the seams) PERIOD inner sleeves here and there that feature ads for other records from that period. (This sort of sleeve just adds that final period touch to an original IMO.) Provided, of course, the inside of the sleeves hasn't become all abrasive with age. Though in some cases I've then inserted one of these plastic inner sleeves rounded at the bottom. There must be a reason (or a bonus) why people hang on to these original sleeves, or else where wouldn't be so many eBay sales descriptions where they drool about the presence of the "original inner rice paper sleeve" (even if it's one that has NOTHING printed on it).

That's true, but somehow I've found this to be less of a nuisance (or obstacle) than having the LP slide away from the edge of the outer sleeve oncle it's shelved. That makes things even more unreadable.

Fun? I find it a necessary chore to tidy up the items somewhat (cleaning CD cases or replacing broken ones). Compared to that, taping and repairing covers definitely is more fun. (Though I'd understand any onlookers wondering what I am doing ... though not my son ... at age 20 he has become a vinyl junkie himself ). As for removing stickers, this is the main reason I've borrowed the hair dryer of my better half ever so often through the years ... Though I tend to leave really old stickers from long-gone record shops (that sold the item when new) in place. They're part of the history of the record and in some cases (with local finds) part of the history of local commerce.

Of course when you push the record in with the opening first you have to remove the cover too each time you want to spin the vinyl. So this is not the ideal solution for those who want to protect the cover against further deterioration by placing it inside such a clear poly outer sleeve (and leaving it there when they remove the record). In fact I use a variant of your method for storage. I try to put all my originals or older (roughly pre-mid-60s) pressings inside such clear sleeves (to prevent further wear to the covers, e.g. ring wear) but I put them in with the opening of the poly sleeve facing UP. Of course you have to remove the entire LP for listening ot the vinyl (as in your case) but this prevents sliding of the LP inside the sleeve and the spine usually remains legible (unless the poly outer sleeve is waaay oversized, so I am trying to match undersize covers to those relatively few somewhat undersized poly sleeves I have. As for worn spines - very common ... including seam splits to these often ridiculously thin papers used on older US covers, and on many laminated but relatively thin European covers (paritcularly German and UK ones) that did not stand up to frequent handling (over time the LP itself often seems to have burst through the inner sleeve first and then through the spine and bottom of the cover - wonder how so many owners managed to achieve that ...). That kind of spine damage is what first got me to trying to repair them with clear self-adhesive sheeting cut to size, particularly to protect the spines against further deterioration.

Since these clear outer poly sleeves keep coming up, a general question to those who are all for these outer sleeves to protect your LPs from further deterioration (including as an alternative to taping seams that are already split): How do you keep your LPs from slipping and sliding in and out inside your sleeves, which makes handling and storing awkward (and makes deciphering the fine print on the spine almost impossible so you dont easily see which is which), e.g. when placing (and pushing, if the rack is fairly full ) the LP back into its rack? Don't you often end up with the sleeve not wanting to go in and the LP starting to slide out of the sleeve again as you push the LP back into place between its neighbors? LP cover sizes aren't all exactly alike (even US pressings these days, I'd guess), and older UK pressings, in particular, often have comparatively undersized covers, enough to make them a very loose fit in the usual sleeves. So the LPs slip and slide very, very easily out of their sleeves. At least if you line up the open side of the outer sleeve with the open side of the cover where the vinyl is removed and replaced. At any rate I've found it very hard or next to impossible to find "undersized" poly outer sleeves where most European LPs would be a very tight fit inside. What you usually can buy is a fairly generously sized standard affair. You mean Bresna is not supposed to use the door next to his vinyl rack anymore?

Like I said - better to make up your tape strips by cutting them from sheets/rolls of clear sheet as used for binding books/reinforcing covers, e.g. by libraries where the covers do get a lot of abuse. The better brands of these clear sheets are fairly thin and adhere well. And I have yet to see any of these "tapes" turn yellow or brown - the only case where I have seen a bit of darkening (within a couple of years) was on 50s pulp paper pocket magazines where the paper seems to have darkened under the tape. But I have some books and LP covers taped in that manner way back in the late 70s and the repaired LP cover seams and book covers still look very tidy and neat, and no discoloration.

I am with Bresna with regard to outer sleeves and excessive worries (or not) about ring wear. I do tape seam splits on all the covers that show some wear anyway and have only hesitated on really close to mint covers of orignal or early-pressing albums (in these latter cases I try to preserve the covers as they are, taking care not to increase seam splits when removing the record or storing the record outside the sleeve in a clear outer sleeve - which I only use on originals or older pressings up to, say, the very early 60s, anyway). To tape the seam splits I cut strips from sheets of clear and fairly thin (but strong) self-adhesive foil of the type also commonly used by bookbinders. This clear foil does not turn yellow or brown over time, contrary to typical adhesive tape. On typical US cardboard covers of the 50s where you can see the outline of the paper used to hold the front and rear cardboards together and to make up the spine I usually cut the strips wide enough so their outline more or less closely matches the outlines of these paper strips (hope you know what I mean). That way your repair strips overlap about 1/4in with the front and rear cover papers so the clear tape covers all the vulnerable areas. Looks fairly neat if done carefully. On European pressings with more or less advanced seam splits (some British and German labels are particularly vulnerable as their covers are fairly thin) I often use strips cut from older paper that matches the age and tint of the inside of these covers, food these strips along their length, glue the strips and carefully move them inside the cover so the strips can be pushed against the inside of the split area. To do this you have to the the cover open so you have room to move the glued-up strip inside. Works well and is almost invisible (unless you peer into the inside) on these European covers but is out of the question on US cardboard covers. With their flimsy paper folded around the edges to hold the front and back cardboard layers together these stiff covers would burst apart if you'd try to do that there. I realize many diehard first-pressings-only-stored-in-Fort-Knox-type collectors will sneer at this kind of repairs (but like others said - it will be up to my heirs to worry about that) and considering how (otherwise desirable) original records had had their covers manhandled in the past with all sorts of impossible materials to "repair" them (browned clear tape is a comparatively harmless offender - often I have also seen strips of brown packaging paper or of insulating tape or (medical) sticking plaster being used which all do a "fine" job to the spines!!) this kind of repair remains relatively unobtrusive and neat.

RIP To make the thread easier to find for anyone looking for that particular jazzman in the future, could you change the title of the thread to the correct spelling of BotSchinsky?

You mean the tracks listed individually in "Miles' DIary" (pages 27 to 29, 8 May to 15 May 1949)?

+1

Actually I have since read that chapter by and on the one I disrespectfully referred to as a "Johnny-come-lately" (Jason Moran) but I'll reserve my comments until others who have read the book and that chapter have given their opinions. And yes - warts'n all, I still recommend the book wholeheartedly to anyone interested in the "live" atmosphere of 40s and 50s jazz.

He makes his case very thoroughly, and this is an interesting piece to read (and to think about)

Which is why they tagged that bin "Rare as rocking horse manure" too. I remember seeing that bin downstairs during my stopovers at Ray's too in the mid- to late 90s. The Prestige 16rpms they had at the time were beyond my financial reach but a couple of years later I found that Wallington/Woods (Prestige 5) on eBay at a price that wasn't cheap but very, very correct.

Oh my ... Where to start and where to end ... Particularly after all that zigzagging of recommendations already listed above (hard to avoid duplications of recommendations and of contents now) ... First of all, I assume you do not want to end in 1939 sharp but are referring to ´the SWING ERA. And since you mention them I'd recommend ALL of the Jazz Archives LPs. The DO fill gaps in a useful way ... (But not all of them are airshots or live recordings) Also take a close look at the entire U.S. RCA Bluebird twofer series from the 70s. And while you are at RCA (and not knowing to what extent imports are available in your neck of the woods), if you go for the black cover single LPs from the French RCA "Black and White" series, check the avilability of the (somewhat more recent) French RCA JAZ TRIBUNE "Black and White" DOUBLE LPs first. The contents of the two reissue series overlap and duplicate but somehow I find the Jazz Tribune twofers better organized/programmed. When you dive into Decca/Brunswick territory, check out the later 70s/80s Jazz Heritage LP series on MCA (both US and French pressings are around). Some of my perennial favorites overall: A killer all the way! Somewhat overlooked but very impressive. The two Black & White albums will give you their entire output whereas the Vintage Series LP has a fine selection of the essentials. Depends, then, on which is available easily at the right price for you. A very fine compilation Another unsung hero (to me anyway ...) Also check out some of the V.A. albums/box sets that must be around. They can serve as appetizers for more specific explorations and also often include recordings off the beaten (pun intended ) tracks that you are not that likely to find elsewhere. And this one (available in various reissue guises) is essential listening, even if it also goes back into the 20s. And of course ANY Decca/Columbia Count Basie (reissue pressings too numerous to mention - he is covered in the MCA Jazz Heritage series too, among count(pun again intended ) less others). For a starter, I like the one below for its period-correct artwork (duplicating a 78 album) Next up, if you can find them, get the FATS WALLER reissues on French RCA (Black & White) - two box sets and numerous LPs. These would be the easiest way to avoid too many duplications among the many reissues that have been released through the decades. On the "whiter" side, I have a soft spot for CHARLIE BARNET (the RCA Bluebird twofers are your safest bet), JAN SAVITT (Yes I know, tastes differ ... he has a handful of LPs on that much-maligned older 60s MCA Heritage series and on Bandstand, Sounds of Swing a.o.), and ARTIE SHAW (RCA Bluebird twofers again ...). And for some good-natured entertaining 52nd Street fun, do try these (there are FOUR vols. by Prima there - all recommendable): And all this still is only the tip of the iceberg (as others will confirm ...).

If bebopbob says this hapened on brand new CDs to him then this is odd, though. I have had a possibly related case that I found hard to explain: A brand new CD (released just before I bought it, so no "NOS" ) consistently skipped and garbled (skipping to and fro on a particular track) on the same track whenever I tried to play it - despite numerous tries (a check of the CD player did not yield anything wrong). Trying to save the contents, I then burnt a CD-R of it on my PC and this one has played perfectly ever since. Strangely enough, the actual CD behaved OK again when I spun it later (much later) again.

Well, on checking further now I found that Discogs DOES have an answer: So this shows he was billed that way on at least three of his 45s.

Could this have been the way he was billed on the 45s he recorded on his own, notably for King, in the late 50s?

Ask Jay Leno, maybe?

I received my copy and have browsed through it for a while now. The book is a gem for anyone interested in jazz (and jazz-related R&B) of that era - the layout is fine and not out of tune with the typical graphics of that period, the reproduction quality of the photographs and memorabilia is very good (decidedly better than in the Parker & jazz memorabilia book published by Lincoln Center) and the atmosphere of the clubs comes across. Leafing through it, you can get lost in a lot of details. So - already on the strength of its visual impact (a few inconsistencies of pictures that clearly fall outside the scope of this period notwithstanding) this really is a very nice pictorial companion to listening to recordings (preferably live ones ) from that era, and can be recommended to 40s and 50s jazz buffs, warts'n all (a bit about warts further below ). The texts will take me quite some time reading and digesting in detail (I am looking forward to the chapter by Dan Morgenstern, in particular) and I cannot comment on the factual accuracy of the descriptions of all the clubs covered in the book so am taking the contents as they are (some with more detail knowledge might want to comment eventually, maybe, if they find errors to highlight ...). But I just had to take a closer look at the interview with fashion notable Robin Givhan first and must say that I am unimpressed. Judging by many of his questions and triggers, the author comes across as someone overawed either by the subject or by Ms Givhan and the contents and sequencing of his questions often don't help (sure you can comment on if and where 40s fashion has been picked up by more recent designers, but not at the BEGINNING of such an interview - that's an anti-climax of sorts in the light of what is discussed later). OTOH what Ms Givhan has to say often strikes me as a mixture of unfocused rambling (on the basis of "I gotta make statements about it"), speculations (e.g. about why the patrons on these pics were so happy and flirtatious - I mean, were they supposed (or willing) to look grumpy and bored stiff when a pro photographer sneaked up on them to catch them in the act and sell them back the souvenir pic ??) or something bordering on cluelessness when she muses about how and why everyone was so well-dressed. (Did she ever have a closer look at what people commonly wore back then out in the street and even more so when heading for a "night out"? A closer look at some Shorpy pictures would have helped too.) Even the young ones often did dress up, far into the 50s (though her claim that "it wasn't until the late 60s when adulthod didn't necessarily mean dressing like your mother" rings decidedly false to me). Doesn't take much fashion scribe specialist knowledge, just some advanced awareness of and interest in period styles. So what she said somehow lacks in substance in explaining the fashion of the day and in its historical context (at least to me). I am not so sure either about how they stress race must have been a non-issue in the world of these jazz clubs. So somehow I really feel they did this interview to get her celebrity name on the cover as a selling argument, but IMHO someone, say, actively and deeply involved in the Neo Swing (sub)culture would have been at least as qualified to comment on the fashion of THAT era and on its social and societal context. Ho hum ... (but that's just one chapter, so not that much harm done ... ) Another quibble: For practical reasons, an index of the clubs described and shown (as in the Charlie Parker and jazz memorabilia book) would have been very handy for easier referencing in the book. So ... anyway ... anyone interesting in adding a somewhat different visual slant to your listening of 40s/50s jazz - go get that book!

@JSngry: Weeelll ... definitely about the cars as far as their suitability for the typical urban and suburban streets around here is concerned (many of these tanks are way too bloated for that), and coming to think of it (now that you raised that point ), a bit about those drivers/driveresses too who clearly are inept at handling their cars in a space-saving and smoothly advancing manner in these streets (to keep traffic flowing) because - though seated up on high in there - seem to be unable to see and understand where their cars begin and end. If you've seen them trying to maneuver their SUV monsters through suburban streets often laid out in the 30s/50s and OTOH recklessly parking them in a way that most of the times blocks TWO parking spaces then you have little respect, patience or sympathy with them. Though I do not expect all of the 'murricans to really understand that ... But the urban space situation very often just IS different here ...

Congrats and hats off, that Stude is an interesting car, and not one likely to be seen at every run-of-the-mill classic car meet (contrary to Tri-Chevies, Impalas, Camaros and the typical Fordlore, etc. ). I regularly drive Mopar offshoots that as it happens were also present on the US market - I own three from the range shown here: https://barnfinds.com/1960-simca-aronde-elysee/virginia-23002 No, they don't drive like today's cars and you have to use common sense and exercise caution in traffic and really have to take them consciously into your hands (like any old car from that era) instead of just relying on a zillion of comfy gadgets but their size makes them VERY handy and whizzy in suburb traffic, contrary to many, many of those SUV pieces of shit totally ill-suited to European cities.

I think that would be a first among Savoy LP covers from that period. They very often used generic "whitened-up" photographs, including for jazz and R&B LPs. So let's just use this one for Dexter's ride instead, OK?

Going a bit further back in time ...

Speaking of which ...

Now how about a slight change in interpreting the subject of this thread?