Dan Gould

I once asked Michael Cuscuna about this. He said Blue Note was very good at documenting their recording sessions. I am pretty sure that it's been determined that "Thinking of Home" was the Blue Note Session Hank was talking about. He mentioned a guitar player and a suite. "Thinking of Home" has both. He said it wasn't released and that was true at the time. What's even weirder is that Hank isn't the only one feels there's a missing session. Guitarist Eddie Diehl remembers another session too. I was once contacted by someone who knew Eddie and he says that Eddie claims, like Hank, that there was another Blue Note session out there. Michael & I talked about this too and he figures both of them must be talking about "Thinking Of Home". I E-mailed the guy asking him to see if Diehl knew about the release of "Thinking of Home", but I never heard back from him. It may simply be that neither of them knew that Blue Note did actually release "Thinking of Home" in 1980, 10 years after they recorded it. If it isn't "Thinking of Home", Blue Note doesn't have it in their records. I remember we had this discussion on the BNBB. While there was circumstantial evidence to suggest that he was speaking of Thinking of Home, other things Hank mentioned in the DB interview didn't at all fit into the theory.

My brother sent this, to cheer up Bear fans:

What the hell is this about? I don't like the way Collectables has paired up some old recordings for reissue, but what makes them "pieces of shit"?? And what could possibly be wrong with an extensive selection of discs at $5 a piece? And while we're on the subject, may I ask, did you recently change your username? I've never noticed your posts til today, yet here you are with 1100+.

They kicked me out for loudly explaining how the water appeared to flow uphill. In retrospect, I guess I deserved it (I was 18 or something). Well don't leave us in suspense ...

As someone who has little (a few of those Cannonball records) to no (everything subsequent) use for Zawinul, yeah, I'd say he's got a helluva an ego. I'd rather hear Barry Harris "imitate" any day.

I disagree with the analysis - the Bears had to establish a running a game in order to keep pressure off of Rex and keep Manning off the field. The utter failure of their offensive line to either create running lanes or protect Grossman for any length of time was the single biggest factor in this horrible pathetic loss. The second largest factor (and all other factors pale in comparison to these two) was the defense putting zero pressure on Manning. Is it that difficult to figure out that if Manning has all day to throw, his receivers get open, and the result is long, sustained drives that result in scores of one sort or another? The bottom line is that if either one of these failures didn't happen, the game is very close and the Bears have a strong chance of winning. When both happens, you get Rex to do his thing, and the final margin ends up what it is. Total Media Blackout - Bears fans should really try it. It helps.

If you can't get to $25, those CDs are like $5.88, so its still a very good deal. And in addition quite a few blues CDs are included as well. I took advantage of the discount on two of the three volumes of Freddie King's King recordings, which they may have called "The Very Best" but they are in reality his entire output. (Two of the three volumes are in the $5 sale, the other is a bit under $12. And I also got the complete Bobbin-King recordings of Albert King, which is a great set at a great price. So I'll offer an endorsement, as those CDs shipped very quickly when I placed my order (within a day, maybe two) and arrived fast even with Media Mail and were extremely well packed. And to top that off, you'll get a huge tabloid style catalog of other discs that are $5 each but are not available through the website anymore. Apparently they sold them all to another company, and the catalog runs the gamut of all styles of music, plus a lot of DVDs, too. Can't endorse them, yet, but I do plan to place an order some day.

Have you considered that he might be "loose in the head" due to his head injuries? And yes, people have 'roid rages. While they are using them, or getting off of the drugs. But steroids as an explanation years later? give me a break.

time to bring it back dan! Forget it.

In other words, Paul, you're circling the wagons around the illustrious, brilliant coach. The uncontrovertible facts are that A) He had a concussion B) at the next practice he attended, he was initially given a blue shirt signifying full contact but he complained to the head trainer, who assured him it was a mistake and that he should have on a red jersey for minimal contact. C) Then out of the blue, a trainer showed up and gave him a blue shirt immediately before an especially brutal drill in which a RB goes through the line and he's supposed to step up and clobber him. D) He suffered another concussion immediately thereafter Who other than the head coach could possibly order such a thing? It is obvious that Belichick ordered the blue jersey in the first place, and only because he complained was he given the red jersey at the start of practice. Then Belichick forced the red jersey on him, and he got hurt again. There's no question that back-to-back concussions occuring within four days goes a long way toward explaining his current problems (which, by the way, have virtually no chance of improvement - his brain is permanently damaged and the only thing his doctors try to do is to minimize the impact on his day-to-day ability to function). What do steroids possibly have to do with a messed up brain??? Tendon/ligament/muscle injuries due to steroid abuse? Sure. But I have never heard anyone suggest that steroid abuse results in what is essentially early onset Alzheimers. And his amphetamine addiction??? A direct result of the symptoms he's experienced from his head injuries. He was prescribed amphetamines to counteract the sluggish effects of prozac and other drugs. How you get from that to the idea that its somehow effecting what he says happened to him is shocking to me. It sounds like few people here are aware of the article in the Globe. I suggest you read it. http://www.boston.com/sports/football/patr...end_up_like_me/

Yeah, you coulda hit on one of the ones you missed.

Well, I'm glad that it worked, though you stumbled across a different way than what I was trying to describe. One quick note: When you click "Save Selection As" there is a pull-down menu of all the different formats Goldwave supports. So you can pick "MP3" directly instead of your right click - convert audio format. Also, I would only save to MP3 if you want to get this into a portable format. For burning CDs (which I assume you want to do eventually), always use wav files. edit: Also, when you save as an MP3, the default setting is 128 KBPS, but it supports higher resolution. You can scroll up and select up to 320 KBPS, and get a much higher quality MP3. As for optimizing levels, yeah, if 90% didn't make much of a change, then its pretty well optimized. When you said that there were some very soft tracks, I imagined that the levels were low enough that this would make a big impact. Remember that whatever you do, apply the same effect to all tracks so that they sound consistent. Also, you should be aware that the optimization process is limited by the loudest peak of the recording. It takes that peak, lifts it to the level you've chosen, and everything else is lifted to the same proportionate level. Bottom line is that it is possible to have an over-mic'ed drum that is going to limit your ability to get the levels up. When I have that situation, I've actually played a bit with the drum hits (assuming there aren't too many (if there are, it just takes too damn long)). I reduce the level of the drum hit, but make sure I don't eviscerate it. It should still be prominent relative to the surrounding music. This gives me "room" to optimize the entire sound. It sounds like you're screwing with the sound too much, but believe me, no one will ever guess that you did. Another way around this problem is possible if the loudest portion is that the very end of the recording. Then, I will select all of the music up to the "crescendo", and boost that signal. The impact is never so great that the crescendo is no longer a crescendo - the "boost" is kind of spread out over five or six or ten minutes of music so that it is an improvement, but again, not something that anyone would frown on because they won't realize its been done. Bottom line - I know I've gone on too long here - if 90% didn't do much, and you still want a boost, try 98% or so. After choosing "maximize" type -.2 into the text box at the upper right and see what that gets you.

On the Jazz Messengers Jazz Icons DVD, Blakey credits KD as the composer.

Just so you know what kind of people we are, let me direct your attention to this very active thread: Female or Shemale?

This is pretty much my thinking, too. If Mosaic needs to expand its horizons in order to keep releasing the good stuff, it's OK with me. I'm not sure I understand what people are concerned about "tarnishing the brand" unless it somehow impacts their ability to continue the boxes. To the extent that brand identity reflects reality, my notion of Mosaic is a quality product, involving only recordings of clear artistic merit. I might not like some of them, but I respect all of them as being chosen for their merit as music. I have thought of Mosaic as the George Washington of jazz labels. If Mosaic is going to become a hit and miss label, with Chu Berry coming out one week and the collected late 1970s works of Bob James the next, it will change the way I think of it. Instead of automatically considering all of their releases for potential purchase or gift lists, I will pause and wonder if a new release is trash or treasure, and will wonder if I have the time, patience and energy to analyze which it is, and why. I may come to think of Mosaic as the Lyndon B. Johnson of jazz labels. Fascinating analogies but unless you've had a standing order for every single Mosaic, don't you already analyze the inherent value of each new Mosaic offering?

This clinches it: 2025 will see the release of The Complete Rod Stewart Standards Sessions

What a total waste of time. Now the Rockies have announced that the trade is dead, no further discussions, Helton will not be traded. Well, good luck with that albatross of a contract and a marque player with a declining skill set. I'll bet dollars to donuts that this deal gets resurrected sometime between now and the trade deadline, with the Rockies making completely different, and far more reasonable demands.

It was a horse who caught the attention of a lot of people by winning the Derby in record-setting fashion, then had a catastrophic injury in its next race. A lot of people were heartbroken and hoped that the horse would recover. That led to massive media coverage and naturally, a great deal of coverage when time ran out. Count me as one who thinks that we are capable of mourning a wide variety of tragedies.

Now the latest from the AP is that the Rockies want Lowell, Tavarez, and both Manny Delcarmen and Craig Hansen. That is a complete non-starter and I will bet that Theo laughed in their faces. They would have to pay 100% of his salary, and throw in their stud closer, Fuentes. Otherwise, enjoy paying Helton 35% of your payroll til he's 39. And enjoy finishing out of the running for the foreseeable future. Fact is, the Sox hold all the cards. Colorado can stew in their juices til spring training and beyond. I guarantee that Theo won't be the one to blink.

There seems to be a lot of debate. Some say lead-off, but he doesn't run well. If you put Youklis second, I could see a lot of situations where Papi rips a single, and Helton and Youklis end up at second and third instead of scoring. Probably not a bad situation with manny up with the bases loaded, but still. I think Lugo belongs first, with Youklis or Helton second. Both are tough outs, take a lot of pitches, and that gives Lugo the chance to run. some say Helton belongs after Manny, but I think that is Drew's spot, as I think he will show better power going forward. The only problem with Helton after Drew in the six-hole is the lefty-lefty thing. So if you put Youklis second (which is what I would probably do), Helton may drop to seventh, after Varitek. Then Coco and the rookie round out the order. Second or seventh, it would be a nice thing to debate. Apparently Helton's pull tendency has been a function of his home park, and he should have the talent to take a look at the monster and then do like Wade Boggs and play pepper off of it. As I've looked through all the numbers and info I can find, I think Helton is a superior choice for the next two or three years. Not sure at all that he'll be that good in the last two seasons of his deal, but when you look at upcoming corner infielders (free agents) and the lack of talent in the Sox' system, I am coming to the conclusion that Helton takes care of a looming need better than any of the other possibilities (outside of a trade, which would be from a position of weakness).

As if the Red Sox don't have enough on their plate with Helton, now Schilling has announced he will pitch in 2008, and possibly beyond He expects a contract extention to be hammered out in spring training (or if not, he won't talk during the year and will enter free agency) and has also said on the Sons of Sam Horn site that his starting point for a new contract is not a raise over his current salary and that he told the Red Sox a while back that he and his family had their change of heart. I like the idea of Schilling pitching in Boston in 2008, but I don't want to see a commitment beyond that or for too much money. But after 2007, the youngsters who are in the low minors won't be quite ready. A rotation of Dice-K, Papelbon, Beckett, Lester and Schilling/Wakefield - I'd take Schilling over Wake, assuming both are healthy. If Wake won't retire, I'd be happy to see him in the bullpen. I wonder if they could come to an agreement with Schilling like the one they have with Wakefield. Basically a year-to-year contract in which its like a mutual option - if he wants to play, and they want him, he's signed for as long as he wants to play. Its clear that Schilling is as enamored of the organization and the city as Wakefield is. the problem is, Wake is signed in perpetuity for like 4.5 million. I don't think they want to commit to Schilling in perpetuity for 14 million.

You have been working on this since last summer? Then I suggest you hire an editor or try to proof read some time. There are too many typos to count. Number two, you are hung up on this word "hermaphodite" because it fits into your gender thesis when the fact is that Wynton's point is something entirely different: Fusion, jazz-rock, is STERILE, like a hermaphrodite. He isn't speaking of anything but STERILITY. Sterile, as in nothing can come after it because it can't produce anything. Try replacing "hermaphrodite" with "sterile" everywhere it appears aside from the initial quote, and see what you've got: Nothing.

I'm a little confused by your terminology (I've been using Goldwave too long). When you open a sound file, you should see the sound window (the file itself). The control window has the play/record/pause etc buttons. Not sure what "Main' window is, unless that is the big window that has all of the pull-down menus. Now, to see the file at greater detail, go View -> ten seconds. this will put you where you need to be to see the start points of your tunes. Now, another way to "move" the markers is clicking and dragging. Let's say the last track of the file starts at minute 16:00 and ends at 20:00. Those four minutes would then be the part of the file that is "bright" and when you choose Edit - save selection as, that is what you are saving. After you've saved, if you right click within that "bright" part of the big sound file and drag to the left, you will eventually move the end marker to the previous start marker. Now, from that very spot, left click and drag to the left, and find the beginning of the previous song, When you are happy with that start marker, you save selection again. When you say that you want to put all start and end markers first, that's actually not the way I have been describing it - but I believe its a function that Goldwave does have. You could mark start and end points throughout the file, and save each one as a track. I'm just not familiar with it, as I have always used the method I've described above - pick the start and end time of the last track, save, then use the start time of that track as the end time of the previous track. find your new start time, save again. And so on ... When you are ready to do the normalization, what you want to do is make sure that you have selected the entire track before you apply the effect. Last thing you want to do is end up applying the effect from 10 seconds in to the end, and then save the result. So make sure the whole file is "bright". Then when you do apply the effect, if you have it at view - ten seconds, you'll really see the increase. Otherwise, you can select view - all, and you'll see the increase across the whole file. Hope this is all clear!

If you're referring to T-Bone Walker: I Want A Little Girl It was originally a Black&Blue recording made in France. It has Hal Singer on tenor and George Arvanitas on piano and organ. In the French reissue (Feelin' The Blues) there are a few extra tracks with Jay McShann and Eddie Cleanhad Vinson. This one I like a lot. T-Bone also plays piano on one tune. F I've got that Black & Blue reissue, and its definitely a good 'un.

OK. Goldwave changed the method of selecting parts of a sound. The old (and better) way can be accessed through clicking Options -> Window Click on Use left and right mouse button selection method Now, when you right click on the end of a song, the end point is selected. Left click at the start of the song. Choose "Save Selection As" from the File menu and call it Track 005. Now, Right click where you put the previous START marker. You've now changed this to the new END marker. Left click at the start of Track 004. Choose Save Selection As and save it as track 004. Lather, rinse and repeat, and you can split up your tracks very quickly. Now, for "equalization" or really I think it would be called normalization, there are two options: Burning programs like Nero have options that will boost levels across all tracks of a CD. If that is an option for you, you might try it and see what happens. With Goldwave, open one of the tracks you've saved. Click on Effect -> Volume and choose "Maximize" There are presets like "full dynamic range" or you may simply choose 90%. This will boost all levels to 90% of the maximum. If you have some tracks that are louder, this will bring them down a bit. The low tracks will get a bigger boost. If you don't want to use the pre-sets, you can enter a number in the box at the upper right. When I want really strong levels, I'll go around -.5 which is equivalent to 95% of the max (don't ask why you can't just enter the percentage you want - for some reason it is in DBs) You can also use the slider, but its not that sensitive so I always enter a number. Basically, you want to apply the same effect to all tracks, and you should end up with improved fidelity. Only caveat to that is that for the tracks you boost, you are bringing up both the signal and the noise floor. In some cases you may discover that the tracks don't sound as good as you hoped, because the increase is so great that the noise really comes out, too. And then when you play one of the tracks that had strong levels, the absence of the noise floor will be very pronounced. if that turns out to be the case, the answer is real simple - experiment with the best increase for the low levels that still sounds good, and doesn't sound shitty next to the high level tracks. good luck!