medjuck

HB! MG.

Don't dots over notes indicate that they're to be played staccato (I don't really remember much from my music lessons 50 years ago.)

Joshua Redman Trio at small (600 seat) theater last night. Good stuff.

I once picked up a Laserlight cd with some of the Ellington Musicraft cuts. Also some King Cole trio transcriptions.

Very laudatory review in LA Times. Well positioned in paper too. http://www.latimes.com/entertainment/music/la-et-ms-coltrane-live-offering-review-20140923-story.html

Just finished the book. It's really good as is the music download. Her website has streaming access to much of the music she talks about (not just music by Art).

BTW "Revenge" is avaialbe for download from Amazon for $5.94.

Listening to the Disc 6 of the Clifford Jordan Mosaic, which is the equivalent of Glass Bead Game Lp I noticed taht it was 64 minutes long. I don't ever remember another Lp that long. IIRC one of the 2 releases from Mile's '64 Philharmonic Hall concert was about 30 minutes a side but I can't think of any other Lps that had 60 minutes of music. Were there many and didn't the length cause sound problems?

Does that mean much Pee Wee Russell? (I hope.)

Jeff Koons at Whitney. Not my cup of tea, but I really enjoyed a couple of other smaller exhibits they had on other floors.

Saw it many years ago. Very good.

I've been listening to the Clifford Jordan Mosaic set (to my surprise I really like the Pharoah Sanders). According to the notes, on the Cecil Payne cut "Slide Hampton" Payne "adroitly shifts to the alto" at the end of his baritone solo. He's so adroit that the last notes of the baritone solo over-lap with the beginning of the brief alto solo! Did he pull a Roland Kirk? Were they double tracking? Or am I just mis-hearing? Maybe they were double tracking: on another piece Wynton Kelly plays organ and piano at the same time but I think it's one hand on each instrument.

I think Percy was on a retainer as Ray's writer in residence.

I give up. What's the answer?

Here's a review: http://thebluemoment.com/2014/08/24/coltrane-in-the-temple/

Maybe Herbie Hancock remembers.

Well it might have been different for someone sitting across the bandstand from me.

I've been wondering about this concert for 20 years. I think I've got about as much chance of hearing it as I do of hearing a Buddy Bolden cylinder.

I couldn't feel the bass. I could see it but not hear it.

I saw the quartet live once and was sitting on Elvin's side of the stage to boot. Couldn't hear Jimmy at all. (It was a club and I was sitting to the left of the band stand looking across it.)

I've never heard anything about Neil owning these. Here is what Rolling Stone has to say: The 20 reel-to-reel tapes that hold the entire sessions sat in the Woodstock home of the Band's Garth Hudson until about ten years ago, when he sold them to Canadian collector Jan Haust. Dylan's office cut a deal with Haust that allowed the tapes to finally come out officially. "They had deteriorated some and a few reels were missing," says a source close to the Dylan camp. "We had to find copies of a few on cassette and DATs." Through painstaking research, and a little guesswork, the songs are presented in roughly the order they were taped, though a series of half-completed or poorly recorded tracks reside on the final disc. The material has also been remastered and sounds infinitely better than even the best bootlegs. "Everything is coming out, besides four or five things that just sound like distortion," says the source. "We usually curate these packages more, but we knew the fans would be disappointed if we didn't put out absolutely everything." http://www.rollingstone.com/music/news/bob-dylan-complete-basement-tapes-bootlegs-released-november-20140826#ixzz3BWbqyMnJ http://www.laweekly.com/2007-11-22/music/bob-dylan-s-most-mysterious-recording/ "Among those rarefied few who heard the original recording was Neil Young, who, it turns out, possessed the most pristine and unadulterated copy of the so-called Basement Tapes, which he received from his longtime engineer Elliot Mazur. Mazur was assigned by Dylan’s manager, Albert Grossman, to transfer the original tapes for storage, and ended up dubbing a copy for himself. A few years later, Mazur duplicated them again with the intention of giving Young a copy, but accidentally gave him the original transfers, which sat in Young’s archives until they were unearthed a few years ago. With the song’s release on the fantastic I’m Not There soundtrack, those not exposed to the bootleg can finally attempt to discern meaning for themselves — if they dare." I think you and RollingStone are right. Reading this more closely this suggests that what Young got was the original dub but not the original master.

This is so weird. A couple of weeks ago I was listening to the soundtrack of" I'm Not There" and noticed how good the title song sounded (as compared to on the bootleg I had of The Basement Tapes) and decided to do some research on it. Somewhere on the web I found out that the original tapes had been given to Neil Young who had them in his archive. (He was supposed to get a copy, not the original.) That got me to thinking that they could release the whole thing, but I concluded "no, they'll never do that". Shows how smart I am.

Now that's funny (unlike the New Yorker piece).

This is Parlophone material. All Parlophone recordings, except for The Beatles, went to Warner as part of the sale of EMI to Universal. Other labels that went to Warner include Colpix and Roulette. So who got the Beatles recordings? (I tried to google this but never got an answer.)

Oh no! I worked on a film with him and Billy Crystal. It was a flop but, as my wife has often pointed out, it was worth it just to have had lunch with those guys every day and to drive to the set with them. I once asked them if they'd be as funny if none of us were around as an audience and they thought for a minute and said they'd keep it up even if they were only amusing each other. We were once shooting all night with a large group of extras and in the middle of the night when we were all flagging Robin jumped up and did 30 minutes of stand-up to keep us al awake. He was a good man.