Dan Gould

Actually, Allen, they gave me a different name, Vince Caro. Looks like he lives in the 'burbs of Westchester County, New York-maybe they use him cuz he's closer to Stamford.

Allen, believe me, I am not putting you on the side in favor of the "pro" (though I honestly did not know how extensive your experience is). Free help is much better than from another guy who i supposedly "reasonable" especially if its using the same equipment with the same expertise!

And thanks, Kevin, for talking with Michael about it. Maybe if this yields good sonics, it could go onto the start of a Mosaic Select that Michael's been thinking about. I could certainly get Michael in touch with Janie Harris.

I've already talked to the seller and he promises to do the utmost with the packaging. I don't even want to think of the possibility of it arriving in pieces. I'm going to email again and ask for double boxing, too.

Allen, I may take you up on that! I'll send you an email after I get the 78 next week and I see what I can do. I definitely want to get the best possible transfer I can, and it sounds like you've got the equipment to work on it. Thanks!

As mentioned in this thread, I have landed a truly rare test pressing of a demo recording by the Four Sounds, the earlier incarnation of what would become the Blue Note recording group, the Three Sounds. As mentioned in the ebay listing, so I know I am going to have to do something to get the maximum fidelity from this, and I ask for any advice people may have. I have no super handy-dandy record cleaning machine, only one of those Discwasher thingies - the wood block with the felt side. I am afraid that while this does ok to get stray bits of hair and frizzies off, it is more likely to grind any dirt into the grooves and make things worse. Right now, I have two options: Contact a local record dealer, see if his record cleaner can handle it; Follow the advice of my wife, who has training as an audio engineer, who suggests the following: Warm water A soft towel gentle rubbing in the direction of the grooves Does anyone have any objections to that approach or better alternatives? Thanks!

And if your Miles thread was meant in jest, prove that you are seriously interested in participating by going back to your first post in the thread and delete the topic so that your "joke" doesn't spawn more misunderstandings and doubts about whether you are a serious jazz fan or a troll.

My comments were based entirely on bluesforbartok's comments as an example of a particular kind of jazz book and on your reply. I made no implication that I had read the specific book in question (note that I said, "I'd be damn disappointed if I found myself spending money for a book that had no serious interest in jazz." I'm sure you recognize that tense as future conditional.) On the other hand, I am pretty confident that there are many books that get published which use jazz in a superficial way to flog some current academic theory or to approach it from some tangential field, and it is not at all clear that those writers love jazz or even know jack shit about it.

Happy B-Day, Tom!

Bertrand, I'm pretty sure that the book is being printed right now, and considering that the disc is described as "fairly dirty" I don't know that there would be anyway to meet such a deadline, if there could still be time anyway. Interesting what you say about including a CD with the book. Last year, I asked her about it, and she told me:

Bill, Janie mentioned that Benny is still alive and still gigging in Jackson! Also, if you go to that publishing website I linked above, scroll down to the bottom of the page; in the middle there's a picture I asked Janie about, turns out its Gene, bass player Leonard Hall and Benny Poole. And the news gets better: her book includes a picture of the Four Sounds who made this demo recording, including Lonnie "The Sound" Walker, so I'll be able to make a super-duper extra special CDR cover for this once the book is published. B-)

Nothing here, folks. Nothing at all. And if you doubt, just take a look at the Wanker's position in the Organissimo Posting Hierarchy: LOSER

While its true that not all books are for all readers, that's not how they get organized in the book store: Pretentious Crap for Non-Jazz Lovers; Non-Technical Biography For Jazz Fans Without Music Degrees; Heavy Technical Analysis ... Perhaps "pretentious" is a poor choice of words, but I know I'd be damn disappointed if I found myself spending money for a book that had no serious interest in jazz or the musicians who make it and just use jazz to hang some currently "hip" academic theory off of.

So, I guess you are saying that due to the "forced" nature of the change, you could not have included your old name in your sig, like "the poster formally known as ..." In that case, continuing to use "Cheers!" as your signoff would have helped a lot of people know who they were dealing with-only one person used that signoff, and it would have ended a lot of confusion, both then and during the unpleasantness. Sorry to hear you're checking out. Hope you come back later.

Mike, I'll do that. What's interesting is that the seller is from Cleveland, where it was recorded, and he tells me that the company, Boddie Recording, is still in the same location. So, I don't know how good their record keeping is but I will try to get contact information and see if they can share any info on this, like recording date, whether it was issued commercially or not, etc.

OK, time to up the "cool" factor just a bit. I sent an email to Gene Harris' widow, and this is what she wrote back: B-) And some nice news from the nice lady:

I assume most of you know that before the Three Sounds headed east they were a regional midwest quartet known as the Four Sounds. But did anyone know that the band actually were recorded? I sure as heck didn't, until I came upon this ebay auction: Yup, and that winning bidder, danarickgouldover, would be me. I am so psyched I am nearly speechless!

Up, because I know there are more people who feel like GoM, Soul Stream and myself do.

Calling a Flurin a bully is like calling Aric a well-adjusted, mature, easy going adult. To put it in legal terms, it assumes facts not in evidence.

What Soul Stream said. A thousand

Same answer again. Ignore it. It'll go away. Haven't you been reading here the past weeks/months? It's NOT going away. Maybe if you'd shut the fuck up already, things would calm down. Jesus Christ, people say that some take this board too seriously, and that's some sort of attack, and a part of the "problem"??? Here's a clue for you, Dizzy-who's-been-a-member-for-not-even-a-month: GO OUTSIDE THIS SUBFORUM AND START POSTING JAZZ THREADS. START A CONVERSATION ABOUT JAZZ.

The ONLY THING this board "needs" are members who respect the community of jazz fans that congregate here.

Well I'm glad I clicked on this thread ... I went and did another search for Weed's Gene Harris disc and while I couldn't find it, about five pages into a google search of his name got me to his website, where he has the CD for sale. Yipeee!!

Sorry to hijack your thread, but that's Tad Weed, huh? I never heard of him til a couple of years ago, when I discovered this CD on AMG: A Tribute to Gene Harris (All Story). The review had me curious about it, but I've never been able to find it anywhere. Does anyone know if Tad has an email or might have the CD for sale himself? Thanks!

Here's Ratliff's NYT review of Griff's Blue Note engagement: Making a Coat of Many Colors, Stitched by a Single Tenor Sax By BEN RATLIFF Published: March 17, 2005 The tenor saxophonist Johnny Griffin is one of those elite older jazz players who contain so much of what makes the music great - rhythm, soul, blues, humor, delight, maturity, sophistication, world-weariness. He has a sound and a presence, and everything he does is interesting, even moving and talking and introducing his band members. Mr. Griffin lives in southwest France, near the Pyrenees, and he hasn't played in New York clubs since 2001 because of a stroke and heart trouble. He used to be known for speed and articulation, in Chicago and New York, before he left for Europe in the early 1960's; at 76, his playing has edged back from the super-fast tempos that he exulted in as a younger man. But now there's perhaps more to enjoy, and at the Blue Note on Tuesday night-the first of a two-night stand - he immediately established a canny method of reconnecting with his audience. The Blue Note is a fairly large club, and he insisted on talking without a microphone. The entire club fell silent every time he drew a breath to speak, and that made people pay closer attention to his playing. In a quartet with the musicians that accompany him when he comes to New York - the pianist Michael Weiss, the bassist John Webber and the drummer Kenny Washington - Mr. Griffin sounded as if he were looking for fresh phrases. He often found them, in flowing arpeggios and gently eccentric gestural playing. His fallbacks, once in a while, were bebop lines, but more often a relaxed version of old rhythm-and-blues honking and honeydripping, with all of that style's magnificent knowingness and satire. (Mr. Griffin played in the 1940's under the Chicago bandleader Joe Morris, before bebop realigned jazz.) It's a mode of playing that is almost extinct, but combined with Mr. Griffin's harmonic sophistication it sounds as modern as anything. With the band playing beautifully behind him, he played a set like many he has played before, including the standards "Just Friends" and "If I Should Lose You"; a few originals, one fast ("Hot Sake," based on "What Is This Thing Called Love"), one slow ("When We Were One"); and, at the end, a blues, full of easy, grace, repeating lines for emphasis. The set had tentative moments, but he ended fully on his feet, and it was as good a demonstration of blues phrasing as can be heard in jazz.