Jim Dye

I use Foobar2000. It is perfect for going from FLAC to MP3. Foobar2000 Special Installer Make sure you download the Special Version because it includes the tool you need (foo_clienc.dll) to transcode from FLAC to MP3 or anything format you like. I don't have the time to write out a full FAQ, but these screen shots should help.

Have you seen a copy of the original LP? They do look like this. Not this.

Ordered the set at 10:30 am on Wednesday, March 2nd. It arrived at 9:00 a.m. today, March 4th. Less than 48 hours! Damn fine service I must say, I must say. My set is #1088 btw... (sorry Chuck )

I recently found these on Usenet. Here is the info that was included with the downloads. Charles Mingus Complete Birdland Broadcasts 1961-1962 Disc 1 October 21, 1961 1. Blue Cee 2. Ecclustiastics 3. Hog Callin' Blues (incomplete) Charles Mingus, Roland Kirk, Yusef lateef, Jimmy Knepper, Doug Watkins, Dannie Richmond March 24, 1962 4. Intro by Symphony sid 5. Take the A Train 6. Fables of Faubus 7. Eat That Chicken Charles Mingus, Booker Ervin, charles McPherson, Richard Williams, Toshiko Akiyoshi or Jaki Byard, Dannie Richmond October 19, 1962 8. The Search (I Can't Get Started) 9. Mon, Funk or Vice Versa 10. Please Don't Come Back From The Moon 11. Eat That Chicken Charles Mingus, Charles McPherson, Eddie Armour, Don Butterfield, Jaki Byard, Pepper Adams, Dannie Richmond EAC > LAME 3.96 VBR jd Charles Mingus Complete Birdland Broadcasts 1961-1962 Disc 2: May 5, 1962: 1. Theme 2. Reets And I 3. Monk, Funk Or Vice Versa 4. Devil Woman 5. Eat That Chicken Charles Mingus: bass 3; piano 1, 3, 4, 5 Booker Ervin: tenor sax Charles McPherson: alto sax Richard Williams: trumpet Toshiko Akiyoshi: piano 2, 3 Herman Wright: bass 2 Henry Grimes alternating with Herman Wright: bass 1, 3, 4, 5 Dannie Richmond: drums March 31, 1962: 6. Monk, Funk Or Vice Versa 7. Oh Lord, Don¥t Let Them Drop That Atomic Bomb On Me 8. Eat That Chicken Charles Mingus: bass Booker Ervin: tenor sax Charles McPherson: alto sax Richard Williams: trumpet Toshiko Akiyoshi: piano Dannie Richmond: drums MC-ing by PeeWee Marquette (1961) and Symphony Sid Torin (1962) FM(WADO FM, NYC) > acetates>reels(2-track, 7 1/2ips)>Soundforge (equalization) >CDR All I did was EAC>LAME - VBR jd Charles Mingus Complete Birdland Broadcasts 1961-1962 Disc 3: May 12, 1962: 1. Introduction By Symphony Sid 2. Peggy¥s Blue Skylight 3. Tijuana Table Dance (a.k.a. Ysabel¥s Table Dance) 4. Eat That Chicken Charles Mingus: bass and piano Booker Ervin: tenor sax Charles McPherson: alto sax Toshiko Akiyoshi: piano Henry Grimes: bass October 26, 1962: 5. O.P. 6. The Search (I Can¥t Get Started) 7. Symphony Sid Announcement/Eat That Chicken 8. Monk, Funk Or Vice Versa Charles Mingus: bass Charles McPherson: alto sax Eddie Armour: fluegelhorn Don Butterfield: tuba Jaki Byard: piano Pepper Adams: baritone sax Dannie Richmond MC-ing by PeeWee Marquette (1961) and Symphony Sid Torin (1962) FM(WADO FM, NYC) > acetates>reels(2-track, 7 1/2ips)>Soundforge (equalization) >CDR All I did was EAC>LAME - VBR jd B-)

No, the tip is peeking out over his belt.

The famous Selmer Ad.

er, erm, uh...Not with pictures! Sorry.

http://www.nytimes.com/2005/03/01/nyregion/01jazz.html?hp The New York Times March 1, 2005 . . . And All That Jazz Memorabilia! By COREY KILGANNON In a basement apartment on Charlton Street in the West Village, there are eight tall file cabinets stuffed with hundreds of dog-eared manila folders. The cabinets do not look imposing or important, but they contain possibly the finest collection of jazz photos in the world. Even people with a passing interest in jazz photographs may recall seeing the "Courtesy of the Frank Driggs Collection" tag on pictures in newspapers, magazines, books and documentaries. Mr. Driggs has almost 100,000 pieces of jazz memorabilia, mostly photographs. Several hundred of them are published each year, and he was the biggest contributor of photos to Ken Burns's highly regarded television documentary chronicling the history of jazz. Mr. Driggs has rarely displayed his collection publicly. He has never advertised, or even listed himself or his business in a phone directory. But after a half-century of diligent collecting, Mr. Driggs, 75, says he would like to devote more time to writing about jazz and practicing his trumpet. He is seeking to sell his collection and says he has approached several prominent jazz institutions, including Jazz at Lincoln Center. So far, a sale is not in the offing. The collection has been appraised at $1.5 million by Dan Morgenstern, director of the Institute of Jazz Studies at Rutgers in Newark. Not only could Mr. Driggs use the money, but he wants the collection to go to an organization that will value it and put the photographs on public display, he said. The only problem is that Mr. Driggs does not seem ready to actually part with his photographs, each painstakingly procured and preserved. Most of them lack identification information, since Mr. Driggs, a lifelong fan and student of jazz, can identify most of the musicians in his collection by sight. For years, the collection was a hobby, not a business. He used to estimate his inventory by the thickness of the folders of each band, musician or genre. But recently, a college student spent a few weeks counting the photographs and categorizing them. The student tallied 78,188 images in all - including 1,545 of Duke Ellington, 1,083 of Louis Armstrong, 692 of Benny Goodman, and 585 of Count Basie. Most of the photos have never been published. Many may never be. Often, clients want the same few popular photographs of the most popular artists. There are few requests for Mr. Driggs's 57 photographs of Frankie Newton or the 199 of Red Nichols. Both are somewhat obscure trumpeters. "I don't care; I like them," Mr. Driggs explained. "Most photo agencies have 5 or 10 pictures of Louis. "I have a thousand. Why? Because I want them." The bulk of Mr. Driggs's archive - he calls it an American music collection - consists of early ragtime and rural blues artists and New Orleans groups up to big bands of the 1930's and 1940's. To satisfy clients' requests , he has added other genres, like rock, country and pop. For example, he now has 46 photos of the tenor saxophonist Chu Berry, but also 58 photographs of Chuck Berry. He showed off an original 1924 photograph of Louis Armstrong with the Fletcher Henderson Orchestra, autographed by Armstrong to Fate Marable, a riverboat bandleader who had hired Armstrong several years earlier. It was given to Mr. Driggs by the wife of Harry Dial, a drummer for Fats Waller. Mr. Driggs keeps an additional eight cabinets of sheet music, negatives, playbills and other memorabilia in a large storage space nearby on Vandam Street. But his main photo archive is kept in the basement of an 1827 town house once owned by Aaron Burr and now owned by Joan Peyser, a writer mostly on classical music and artists, with whom Mr. Driggs lives. Before he moved back to Manhattan in April, he kept his collection in the basement of his house in Flatbush, which he sold last year to move in with Ms. Peyser. For years, visitors had taken the No. 2 train to the end of the line and called from a pay phone to have Mr. Driggs pick them up in his Ford Taurus. "It was always word of mouth," Ms. Peyser said. "You had to work to find him. It was kind of a cult thing." In one drawer, the Lee Morse folder is followed by Jelly Roll Morton and Gerry Mulligan. Anita O'Day is next to Jazz in Oklahoma. Stan Kenton is followed by B. B. King. Eartha Kitt is followed by Andy Kirk and his Clouds of Joy. The Nightclubs folder includes membership cards to the Stork Club, the Hunt Club, the Royal Box and Nick's. Mr. Driggs has an electric typewriter in his office, but no computer. He uses Ms. Peyser's fax machine upstairs. The phone is old, and when it rang, it was an old-fashioned bell ring. Mr. Driggs answered it and said: "O.K., send me a fax. That's the easiest way." "They want a picture of Snakehips Tucker, the great Harlem snake dancer," he said, pulling a folder labeled "Dancers (Afro American)" and flipping through the photos. "That's Chuck and Chuckles, and that's Peg Leg Bates. Man, he was some dancer. Come on, I got to have Snakehips Tucker in here somewhere. Where's Snakehips? Here it is." He pulled out a photo of a smiling man standing with his lithe body postured like the letter S. Mr. Morgenstern, the jazz studies institute director, called the collection astonishing and of "tremendous depth." "It's a unique assemblage of jazz materials you won't find anywhere else," he said. "Frank had the foresight and advantage to acquire these materials from the musicians and their estates, and now that they're all gone, he has this unique, one-of-a-kind treasure trove. There isn't another like it." Most of Mr. Driggs's photographs are in the public domain, since many are publicity stills and others are family or personal photographs or professional pictures whose photographers are long forgotten. For pictures whose photographer is known, Mr. Driggs splits the publication fees with them, he said. Mr. Driggs, whose father was a jazz musician, listened to jazz as a young boy in Vermont. When he was 6 his parents divorced, and he moved with his mother to Westchester County, where he listened to late-night radio broadcasts of jazz from nightclubs and hotel ballrooms. After graduating from Princeton in 1952 with a degree in political science, he moved to Manhattan, working days as a page at NBC and spending nights listening to jazz at places like Basin Street, Jimmy Ryan's, Birdland, Café Bohemia and the Savoy Ballroom. He began gathering and saving posters, fliers, ticket stubs, recordings and photos and other memorabilia. He checked out photograph sales and would ask musicians he interviewed for jazz magazines for access to their personal collections. There was the stash that the tenor saxophonist Al Sears gave him. There were the negatives he bought from Leo Arsene, an entertainment photographer who had a shop on Seventh Avenue. "I was interested in the history of jazz and I began buying photographs to fill in the gaps in my knowledge and gaps in the current accounts of the day," Mr. Driggs said. One thing he never did was carry his own camera. "I don't know why; don't ask," he said ruefully. In the late 1950's, the legendary producer John Hammond hired Mr. Driggs to help him at Columbia Records. Soon Mr. Driggs was producing records, organizing recording sessions and putting out important re-issues of recordings by Fletcher Henderson, Billie Holiday, Duke Ellington, Gene Krupa and the blues man Robert Johnson. He left Columbia in the mid-1970's. "I've been living off this stuff ever since," he said, patting his file cabinets lovingly. Copyright 2005 The New York Times Company

I'm going to post my guesses for Disc Two first! I am such a slacker. 1. Great groove. That piano sounds out of tune, but I like it. Not Mal, but close. Trumpeter reminds me of Woody, but it ain't him. Another one for my endless list! 2. Prince of Darkness Live, 2nd great 5tet edition. Awesome. 3. Sounds like an Andy tune. Yup. Sure enough! Wow! I know 2 out of the first 3. Thats a record for me! 4. This disc is bound to please all the Organissimo Forums faithful. Grant and Larry, Baby! 5. Weird! Not a clue here. Interesting organ sound. ??!!?? 6. Nice. I know the melody, but can't place it right now. Late night mood. Beautiful track. 7. This has to be a Blue Note side. Probably a lesser know session. It just has that sound. Perfect example of hard bop. Hey! That's Jackie Mac soloing. Great! 8. I feel like I know this as well. Is this Bud? Another winner. This is a really good disc! 9. Not quite sure here. 10. Sounds like a newer recording. Very hip. 11. Oh yes! This is one of my all-time favorite Blue Note sides. Moontrane, baby. I am so glad that this came out as a CD. Ripe for reissue. 12. I got a fever, and the prescription is...MORE ORGAN! 13. Nice larger group. I like it, but don't have a clue. Great listen, impossible! Now, onto disc one!

Note to self: Don't offer Lon these albums for a trade. B-)

Great tips Daniel! I was using the -mm flag, but now will add the bit rate flag as well for my mono rips.

Read this thread at Hydrogen Audio to learn more about the --alt presets. There is probably more information there than you'll ever want to read!

I'm avoiding painting our living room. The only time my wife and I can get anything done is when the kids are in bed!

Epithet speaks the truth! EAC and LAME are the way to go.

I'm going to attempt to hijack this thread again. Maybe I should start a new thread called 'Turn pictures of your children into Blue Note album covers.'

I'm not talking about Virex. There is a firewall that is part of the guts of OS X. Go to your system preferences and look at your networking. It's there. On by default.

COME ON FHQWHGADS. EVERYBODY TO THE LIMIT!

Günther & The Sunshine Girls We have a new candidate for the worst song of all time. Video

I just love threads like this. John, your Jazz in Poland (v.2) is sublime, as are so many of your designs. Jeff, you've got a gift. Keep 'em coming. There is such an art to cropping pictures. I just redid the welcome page on my site. I don't quite like the font, but it's a start. Off topic? yeah, but what the heck.

I guess that's why Apple also built a firewall into OS X.

We're just a little more than a week away from the 2nd anniversary of the forum! What are the plans? If we all donate a couple of dollars, or a CD or two, we could have a few giveaways on the 6th! Anyone have some other ideas? :rsmile: :rsmile:

Damn you, Jim! I have come very, very close to buying a Mac lately. The Mac mini really intrigues me... and now this! Later, Kevin I dig the Mac Mini too, but I just can't justify getting one since I already have an eMac that my wife and kids use. I use my work laptop, a Dell D800 with a docking station at home. All the ripping / encoding / audio tools that I like are written for Windows. If you like to get down to the nitty gritty and configure things to your liking, then Foobar2000 is the player for you. http://www.foobar2000.org/ I have been playing with the foo_pod.dll plugin the past couple of days. I now have no use for iTunes! It's great. http://www.hydrogenaudio.org/forums/index....ST&f=33&t=19156 Columns UI is great for configuring the GUI. The possibilites are endless. http://members.lycos.co.uk/musicf/

I swing both ways. I am a big fan of Macs, but recently have become a PC guy again. I couldn't live without Foobar2000, the awesome audio player, encoder, music library and all around incredible audio program for PCs. There is even a plug in that allows me to sync and control my iPod without using iTunes. Much more powerful. I think that is true to some extent, however, the multi user unix based design of OS X is architecturally much more secure by default than Windows. That doesn't mean that a determined cracker couldn't own your G5 though.

The Titans released 6 starters on Monday in an effort to get out of salary cap hell. Derek Mason, Kevin Carter, Samari Rolle, Robert Holcomb, Fred Miller and Joe Nedney will not be back. It sucks, but it had to be done. On the bright side, the Titans lured offensive coordinator Norm Chow away from USC when Heimerdinger went to the Jets. The next big decision is whether Steve McNair will retire or not. Either way, it's going to be a long season.

Hard to pick just one, but I'd have to put "Monk's Mood" right up there at or near the top of the list. Simply gorgeous.