medjuck

I like Ratso's notes. Has anyone else pointe out that the last 3 albums seem influenced by his 2 cds covering folk songs and blues? BTW What's on the 3rd disc?

I've been to St. Maarten a couple of times. Given that it's a small island with 30 or so beaches I don't know why anyone would hang out at this one except for the thrill of being buzzed.

Happy B'day and many more!!!!!!!

I always that whatever he was thinking Mingus stayed onstage but was badly recorded. Aren't both versions (dubbed bass and original bass) now available?

That wouls be fun. Where is that? Allan, she has a lot more going on than one line from one song. And I think she's pretty great live. UCSB In February. Part of series which also includes Sonny Rollins.

I'm seeing her with Philip Glass!!!

B-)

"While you're driving on the freeway, a van in front of you swerves, and a ladder strapped to the top of the van comes loose. The ladder crashes through your windshield at high speed and crushes your face." What's scary is that this is quite plausible.

Uhhh.. And that would be.....?

So did recording techniques actually change in the early '50s?

I seem to be the only one who likes disc 7. Not necessarily the best and certainly short, but very mellow.

Actually that sounds about right to me.

So was microgrove 33 1/3 recording superior 78 recording?

I have a vague memory that that records weren't described as "hi-fi" until a few years after Lps were introduced. Was there actually a change in recording or playback techniques or was this just a sales pitch? (Remember "Stan Kenton in HiFi".)

I used to have the Lilith soundtrack. I once interviewed Warren Beatty and much to my surprise he didn't like the film.

I finally read the article and have a couple of comments KOB wasn't always the best selling jazz recording of all time. IIRC it wasn't even the best selling Miles Davis record (that was Bitch's Brew). But it just kept selling for 50 years. And I don't know how old the writer of that column is but IIRC he's wrong about the amount of promotion it got. We were being flooded with Miles Lps around that time. The Prestige albums were still being released. And IIRC (I could get up and check) Giant Steps was recorded after KOB. And Jazztrack was much more readily available than the Elevator sound track. Those '58 sessions got a lot of airplay and recognition. Green Dolphin Street and Stella by Starlight each became as much of a jazz standard as So What. Every local and visiting group I heard in the early '60s had them in their repertoire.

One of the few cds I've traded after listening to it was a Lou Donaldson. I can't remember which one. I really like his playing as a sideman with Blakey and Brownie but just don't get him in his his funk mode.

I bought it when it was first released. I owned about 10 Lps at the time and only 2 or 3 that could in any way be described as jazz. I loved it and didn't know there was anything radical about it. I thought all contemporary jazz would sound like that . As a result I was very disappointed in the next few records I bought.

there are in fact real live tracks by the frankie newton orchestra from cafe society from january/february 1939! three tracks are on the "document records docd-1003" "rare live cuts": i´m gonna lock my heart (with billie holiday!), on the sunny side of the street and honeysuckle rose. the remastering from this original privat acetates was done by the one and only r.t. davies in 1997. keep boppin´ marcel Is this readily available?

It says Lucky Miillander Band. Is he just fronting it?

My bad. I must be doing something wrong with the search function.

I couldn't find one. Here's an obit: http://www.boston.com/ae/music/articles/20..._birth_of_rock/ I first read about his death on the Huffington Post! I usually find out things like this on Organissimo.

I saw a comic opera by Shostakovich in London a few years ago. It was about finding an apartment in Moscow!! Honest. I liked it so much I saw it twice. I think he did it to show he was a man of the people and not just an intellectual. IIRC he also did he music for the Russian film of Hamlet in the mid '60s. (You can see that my interest in classical music is usually about its peripheries.)

Of course e don't know what other people who didn't record were playing at the time of the ODJB but whatever you think of the ODJB, they were playing jazz (jass?). I wouldn't say that about Arthur Collins. Nevertheless thanks for posting this. It's fascinating. I'm going to try to drop in to see the archive as it's here in Santa Barbara.

I find ALL this very depressing. Do you know that only a small percentage of all the silent film ever made are still extant? There were probably masters lost (eg alternate takes) for which there are no copies.