Dan Gould

Yeah, like that one time when her boyfriend got beaten up because he had blue hair, but Mingus made them stop. Then Mingus beat him up because of the way he played.

Yeah but it really isn't - the blurb has about six high quality images that show two sides of one page. You can read what the fashion lady says, or a good chunk of her reaction to these photos. It is easy to get a good idea about the book. This kind of goes back to what I initially mentioned about whether this was the right author, being a rock/pop music business person with no apparent indication of jazz knowledge. We got Sonny Rollins and Quincy - surely got to be the most recognizable names of jazz survivors (and being a music business guy, he knows Quincy's vitae outside of Michael Jackson). We get one still-around critic and one young cat who did art installations replicating old clubs. But he could have spoken to ... Benny Golson or Jimmy Heath just to think of a couple of people. Really it all makes me think of it as a picture book w. sort of pop sociology stuff mixed in. Maybe it turns out to be a lot about those marketing pieces - and if it does, a few photos of matchbooks are gonna go a long way for me. It's true jazz fans can't be satisfied and always bitch. I bet the book would be a great visual accompaniment to that Jazz of the Late 40s thread. But if we want to hear about the clubs from the perspective of performers we're going to be disappointed. It will probably be just fine for what it is.

No but I did have the initial, unspoken thought, of what would Moran bring to this that would be memorable or enlightening?

I didn't attempt to rake him over the coals but I won't say I am excited by his participation ... I was not aware of his "art installations" replicating old clubs so thanks for that link, but studying pictures to accomplish this "art" doesn't give one insight into the environment of those clubs when they existed. It's a lot like the fashion expert opining about the styles show in those photos ... if I get this I am not going straight to her interview either. At 45 Moran is as equipped as anyone who was born long after these clubs were active to opine about them. Attempting to duplicate club stages from years ago doesn't really change that. So if I buy the book we'll see if I am surprised or pleased by whatever Moran says ... but I'll be far more interested in Rollins/Quincy/Morgenstern's contributions because they are old enough to know something firsthand.

No way! I was sure I'd be the fewest, I'm already second and only 4 people have reported.

Almost 4X as many as me, and not far from 1/2 of Hutch's albums to date. Sounds about right.

Pianists now ...

I was thinking too that incorporation of the old photos/current photos of jazz club locations that were put together somewhere on the interwebs would be a cool add-on.

Looks interesting; not sure if the author is equipped to write well about jazz (seems more of a pop/rock guy but who knows) but the photos available on amazon have me intrigued.

Al Cohn on this too - surprised he wasn't listed on the cover.

Maybe I should listen again, I think I had it when the Turrentine collaborations and Plain Talk were my favorite Smiths, who knows I might enjoy it a bit more now.

Damn ... I never liked that record that much - and may not have listened ever since I got it in, probably, the early 2000s - but you must really love it.

I went to bed with the game 1-0, and only saw the headlines this morning. It never even occurred to me that Cash wouldn't ride his ace as far as possible. So does this suggest that Grady Little would have managed Tampa to a win last night? What's extra stupid then is that he ignored the axiom that you have to win tonight, and didn't consider that if he rides Snell longer, he may have a better bullpen in place for Game 7.

When did she decide to sell, before or after COVID? If business is down substantially due to prior COVID restrictions and she's making a lot less on a sale ... I don't know I might not give too much of a shit either.

More McShann.

Excellent Cliff Jordan here. Great late 60s session when I don't think Jay was working as much (?). Anyway certainly his timeless style wasn't exacty 'current'.

Heaven only knows but in terms of releasable tapes what are we talking about? I understood that a lot of the tapes had quality issues or were several generations removed (IIRC).

Fact is I have two options with my software. I can make the recording longer, by a factor of 1.0595, or I can make the recording slower, and I appear to have three different calculated percentages for that option. I guess if I go slower, the percentage that duplicates the new timing at 1.0595 would be the right one. Place your bets! And thanks gents.

Well slower speed lowers the pitch, so 15/16 = .9375 would work in terms of my audio software. You know I sent you the original and speed corrected for a different track. What do your ears say the correct pitch would be? The change I applied was more than a full step actually (.85) - Allen hears the corrected as in the key of B Flat and sounds right to him. I think its the nomenclature of my software. .9375 will make the recording longer, and lower the pitch.

If its a blues in F but it sounds like F#, does a bear crap in the woods? No seriously, can you express the adjustment of F# to F on a percentage or ratio basis?