Dan Gould

Loren referred me to "videos" and the best I can do from youtube is this: (from the announcement there is a Dizzy, a Sweets and a Barry Harris that are unknown for the moment) Volume 1: Benny Carter, alto saxophone Hank Jones, piano Milt Hinton, bass Ronnie Zito, drums Volume 2: Benny Carter, alto saxophone Clark Terry, trumpet/flugel Horn Hank Jones, piano Bucky Pizzarelli, guitar Milt Hinton, bass Grady Tate, drums Volume 3: Benny Carter: Alto Saxophone Trumpets: Jon Faddis, Joe Newman, Victor Paz, Ernie Royal Trombones: Eddie Bert, Dickie Harris, Quentin Jackson, Jimmy Knepper Alto Saxophones: George Dorsey, Jerry Dodgion (+flute) Tenor Saxophones: Budd Johnson, Billy Mitchell Baritone Saxophone: George Barrow Piano: Roland Hanna Guitar: Wally Richardson Bass: Major Holley Drums: Mousie Alexander Vocal: Hale Smith Percussion: Ray Barretto Volume 4: Benny Carter, alto saxophone Joe Newman, trumpet Sir Roland Hanna, piano Bucky Pizzarelli, guitar Richard Davis, bass Richie Pratt, drums Volume 5: Benny Carter, alto saxophone Dizzy Gillespie, trumpet Barry Harris, piano Stanley Jordan, guitar Joe Kennedy, violin Larry Ridley, bass Yusef Ali, drums Volume 6: Benny Carter, alto saxophone Harry “Sweets” Edison, trumpet Derek Smith, piano George Duvivier, bass Ronnie Bedford, drums Volume 7: Benny Carter, alto saxophone Chris Neville, piano Steve LaSpina, bass Jackie Williams, drums Volume 8: Benny Carter featuring Al Tinney, Lou Hackney, and Jerry McClam.

Considering how fresh it is I wouldn't expect it on Lord. I actually thought that you could figure out from the shows because there would be a track that would include stage announcements. I can try to reach Loren and get him to give details. I'll let the board know.

At $9 per I am not going to sweat that possibility. If anything, should that happen, I'd probably just try to buy a copy of the Mosaic booklet then.

Thanks for discovering this ... I understood it to be streaming only so knowing that all can be had as downloads is good to know.

I do not understand the decision to make these unreleased Benny Carter recordings only available on streaming platforms. Nor do I quite get how that maximizes revenue to the Harlem Jazz Museum.

Everything they are releasing (why streaming only I will never comprehend) is new and unheard.

As I recall, years ago Jim A. improvised a set of milestone categories and even allowed members to request status levels for number of posts. I am not surprised that this long-awaited upgrade wiped things like that out.

I am going to go ahead and say you are wrong. https://isip.piconepress.com/projects/speech/software/tutorials/production/fundamentals/v1.0/section_02/s02_01_p05.htmThe WAV audio format was developed by Microsoft and has become one of the primary formats of uncompressed audio. It stores audio at about 10 MB per minute at a 44.1 kHz sample rate using stereo 16-bit samples. The WAV format is by definition, the highest quality 16-bit audio format. Because you can convert between formats, a wav file could theoretically be sourced from a lossy MP3. This could happen for older burner programs that didn't recognize MP3 source files. Converted to wav, they would burn the music CD. But as I said, who would offer downloads in wav format if it wasn't at the quality provided by wav files? BTW, this is for microsoft machines - Apple has it's own equivalent file type. I think it's AIFF but I may be wrong, if that is the Apple equivalent to FLAC files, which are simply a way to compress wav files without being lossy the way MP3 files are.

Well we just closed and funded on a HELOC and they paid off my AMEX balance, where I charge nearly all of my monthly expenses - internet, gas, food. So with no payment in November to make, I decided to repurpose some of that money and ordered 10 of the in-stock BNs in this format. Call it an early Christmas present and I am committed now to no more shopping for myself thru Dec 31. 🤑

I have no idea what "wav is just the container and the content could be low definition or high definition" possibly means. Wav is an uncompressed audio format. If a CD is extracted to wav, it will be indistinguishable. If you take a "lossy" audio file such as MP3 and convert it to wav, it doesn't gain what's lost in the MP3 compression. Nevertheless I do feel that current MP3s sound perfectly fine for me - I would guess that's at 256 mps or 320. So if you mean that .wav files could be authored from poor quality MP3s, I guess "container" makes some sort of sense. But then again why would anyone offer downloads that aren't compressed when the source file is in fact smaller?

The hard part is that of the ones they appear to have in stock, some are such stone cold classics that to miss them feels wrong. And ironically I don't even have a proper rig set up to enjoy them anymore - haven't replaced my wife's studio reference speakers in years.

I've rarely if ever gone overboard for remasters but the XRCD results I have heard are pretty remarkable. This could be an expensive thread for showing me the Elusive Disc page for these releases.

Could have sworn someone posted earlier but this thread will do ... Eastwind Imports is at the final stage of their final sale. Price drop to 75% which meant $28-34 Japanese imports at just $6.50 to $7.50. Only missed out on one, the SHM release of the Bennie Green Time Records release. Priority Mail worked out to $10 a piece, give or take and they are out for delivery today. Code SALE75 WWW.eastwindimport.com

I think this should be its own topic and posting the link to gofundme ought to be fine too.

Why, when they went thru on the writer's ballot per the rules in effect at the time? (I want to say that Palmiero fell off at some point for not maintaining the minimum % required?) Or are you suggesting that there should be a gap between eligibility on the writers and then on the overlooked ballots? If we were dropping PED users and replacing them, then I'd put Dewey Evans back on the list. He was great by modern measurements way before it was cool to take walks and hit a lot of homers and doubles - 127 career OPS+ - and one of the all-time RF defenders, too.

Interesting "Contemporary Players Ballot" for HoF as Bonds and Clemens and Palmeiro (and some other darn good players) get their chance. https://www.mlb.com/news/2023-contemporary-baseball-era-hall-of-fame-ballot?partnerId=zh-20221108-750166-mlb-1-A&qid=1026&utm_id=zh-20221108-750166-mlb-1-A&bt_ee=vglAru4VEvzICRuB388HKvE%2FG%2F5RIfRojzuLf0R4DXHBVfbuarCP85D0CzAVfhez&bt_ts=1667916333021

It will be good when all contributions are tabulated correctly and we'll know where we (truly) stand on the forum costs.

This is my first post, post-upgrade but before I submit I already got the "Posting Machine" badge. 🤯

I am so screwed.

He never told Aric and friend what kind of sammich it was.

It's completely idiotic in my opinion. And, given the cost of $2, had they chosen the 'cheaper' option but for being "lied" to, it's about .20 damages. Let's treble that and call it sixty cents. The plaintiff's bar sucks, they want nothing but to raid some deep pockets with the lawyers getting most of the money. That's the purpose.

Clearly the agreement was between Wilkie and Zev as he doesn't seem to be putting these out on Resonance anymore. I wonder if he's even connected to the label nowadays. He's now got Jazz Detective plus he's worked with Cory Weeds on the Reel to Real label and of course some connection with BN.

Display ad in the November NYC Jazz Record ... anyone with info about this one? "SCCD 36504" doesn't pull anything up on Google and nothing appears on Amazon that I can find. There is an entry in the Blakey Chronology page that indicates a private recording existing: – Flonercetret, Copenhagen, Denmark (February 1962) (private recording) [-TN, DM] Very interested to find out what the heck this is - and may we conclude, assuming they aren't trying to screw BN out of their rights, that Blakey's contract expired sometime very early in 1962? January 24 was the Africa Beat session, then we have this apparently new recording, and it was October of 1962 that Caravan was recorded for Riverside.

Thank you! I posted in the Jazz in Print subforum earlier today. The editor deleted a salient fact and added his own bad error (Oliver Jackson a pianist) but all in all a feather in my cap to be published and mostly to keep Percy France out in front of the jazz audience.

Back in June, the NYC Jazz Record, a free publication with approximately 23,000 monthly readers, solicited a "Lest We Forget" column for NYC native Percy France. My submission was selected from possibly dozens of others and the piece runs in the November issue, available online today and in print at clubs, record stores, music stores and academic music departments on Tuesday. I am beyond thrilled to share the word about Percy, not to mention as a non-writer, having my name on the byline for a significant jazz publication. This is the next best thing short of convincing the NYT to run an obit in their series of people overlooked at the time of their passing. (The published version had only one substantive change by the editor and it unfortunately introduced a glaring error: Oliver Jackson is identified as a pianist. Great thanks are owed to board members @clifford_thornton and @Ken Dryden for their help and advice when I was writing the piece.) New edit to say that the online version is corrected and my image updated (he figures he somehow thought of pianist Oliver Jones) and a correction will be issued in the December issue. http://nycjazzrecord.com/issues/tnycjr202211.pdf