Dub Modal

Excellent music

Fixed the schedule.

(Starts searching apple music for Dickey Wells...)

1 - Sounds like a Getz/Baker collab? Sounds like something they'd have done and the trumpet seems to stay around that Baker sweet spot. 2 - Gimme eh? Hmmmm.... Medley as the intro segues into Summertime where the trumpeter shows big time chops. Wow. So is this Ella and Pops with the chops? 3 - Yusef maybe? Or could it be Frank Wess? Good song. 4 - Weston? This intro section is getting a little long-toothed...bass solo is way more interesting. Hope it's not Weston or anyone I dig because the piano kind of drags this song. 5 - Another good bass solo. I hear a guitar comp but I'm guessing they don't solo? How about that. 6 - I don't know this song but I like it. Spaulding or Wess on flute? 7 - Distinctive guitar but I can't place it. Or is it guitars? Effects are substantial. Al Foster drumming maybe? 8 - Title is obvious but not sure about the singer or group. Tuba makes me think of the Pan Afrikan Peoples Arkestra. 9 - Almost a Jamaican or Caribbean arrangement on those horns. No clue as to who this is.

Damn, what a tragedy.

Was it weed or something heavier?

No worries @Pim. You gotta take care of what's important. Hate to hear that and hope he's able to recover. To edit the above calendar for the remainder of the year, does it look like this? September & November remain open. March tkeith April randyhersom May Dmitry June Dub Modal July tkeith August Ken Dryden September October JSngry November December. felser

Man, that movie...saw it several years ago while staying in Bangkok. The heat was intense and wiped us out nearly every day. One night after grabbing some grilled fish from a road stand, we ate while watching this movie and I told Ms. Modal that the band teacher was basically the heat and we were the pathetic drummer. She agreed.

Well, I don't have any post-70 Dex at all, only up to '67. I'll have to seek some out and give it a listen.

I searched for a topic on the documentary about Ben Webster and Dexter Gordon's time in Copenhagen together and I couldn't find one. If it exists, please delete or merge this one there. Anyway, has anyone seen this - and perhaps know a way to watch in the US? Per the doc's FB page, it was made for film festivals and public service TV broadcasters. They can't publish at this time due to live music rights that would need to be sorted out - so no streaming, etc. It won best documentary at the 2021 NY Jazz Film Festival and has screened at festivals around the world. Released in 2015, IMBd has this following synopsis: The Jazz legends Dexter Gordon and Ben Webster on adventures in 1960s Copenhagen. Women, drugs and jazz music in full swing in a story from a bygone (jazz) era. There was both a geographic and cultural ocean between New York's swinging cosmopolitan atmosphere and Copenhagen's introverted cosiness with crocuses in the garden and beer on the table in the 1960s. It is all the more strange that two of the jazz world's greatest saxophonists washed up on the Danish coast in the early 60s and over the next several years made Copenhagen their adopted home town. 'Cool Cats' is the story of how Ben Webster and Dexter Gordon found a human haven from the racial discrimination and drug problems of their home country. At the same time, the two saxophone magicians started a musical avalanche, which turned Copenhagen, and above all the legendary jazz club Montmartre, into a European capital of jazz. Through skilfully orchestrated archive material, which also includes Ben Webster's own home footage from his time in Copenhagen, the film shows how our own little city changed and was changed by two of Jazz's greatest icons, with all that goes with it in terms of female acquaintances, friendships, drinking, drugs and of course plenty of cool jazz. NYT article about it that I can't read: https://www.nytimes.com/2017/05/09/magazine/the-intimacy-behind-jazzs-seminal-image.html?mcubz=0&_r=0 KCRW story link to director interview: https://www.kcrw.com/music/articles/cool-cats-dexter-gordon-ben-webster-in-1960s-copenhagen Would be great to actually watch this one day...

Noted, thank you.

The only Ayler I have is the Ezz-thetics reissue of Berlin/Lorrach, Paris/Stockholm albums from '66. The playing is definitely unique in a way that I don't necessarily love it, but feel compelled to keep listening, if that makes any sense... At first I thought the song Bells was a type of processional song, but in listening to other processionals that description doesn't quite match. It sounds religious in a way, so is it more of a call to prayer type of song? Also for some reason it reminds me of 19th century social dance music, but I'm not sure that's a match either. Does it share any roots with that type of playing?

There is no way in the world that I'd ever be able to pick up on this. Can you think of any examples where this is demonstrated? Or, are there contrasts where someone (doesn't have to be Dexter) play with that kind of sensibility, but in which it actually works?

Great album

Thanks for putting this together. Appreciate the theme as well. The Maupin/Lightsey songs were definitely my favorites of the bunch.

A couple of post-Prestige live dates I have where he's the drummer are Dexter's The Squirrel ('67) and Johnny Griffin's Live in Tokyo ('76). I enjoy his drumming on both.

Figuring that Ron might be able to give us more detail now that he is retired and Capitol Mastering Studios closed for good, I messaged him on Facebook and told him what some people are reporting and asked him if he could elaborate further on his LP mastering of Blue Note LPs and he replied: Hi Kevin, My disc mastering rooms at EMI and Capitol were all analog rooms. All tape-to-disc projects were cut to disc completely analog. We used NO digital preview like some studios had to because we had a Studer A80 Mastering machine which contained an analog preview head. You would make different tape paths on the A80 for the preview head depending on the speed of the master tape. If it was 15ips it was one path, if it was 30ips, you would use a different tape path. There was also a different path between cutting an LP or 45 depending on if the master was 15ips or 30ips. Yes, some studios that cut from analog did have a digital preview, because they did not have a fully equipped analog mastering tape machine, but we never had to do that. Both Wally’s* room and my room had Studer A80 mastering machines. The person who made the comment is correct in that some studios had to use a digital delay because they didn’t have a specific mastering machine with built in preview path and preview head but we never had to do that. I hope that this will help you. Nice to hear from you and I hope this helps. Ron * Wally Traugott So - to be clear - all of Ron McMaster's LPs were cut fully in the analog domain when he was given an analog tape to work with. Ron has told me that he was sometimes only given digital tapes for some LP cuts. He didn't control that. However, he also says that he always worked with the analog tapes for all Blue Note cuts. His words were something like, "Why wouldn't I? It only took a few moments to pull the tape". I believe that back then, the masters were not stored very far away. BTW - I told Ron that he needs to write down his mastering stories and he agreed, saying it was something many of his friends have been asking him to do for years. I hope that if anything, someone can at least interview him and get a few of his stories out there. If anyone knows of someone who is looking to talk to a retired mastering engineer who has mastered almost every Blue Note title ever recorded, let me know & I'll see if I can make it happen. Thanks for posting this. Glad to see a bad rumor bite the dust.

Nice! Not familiar with Swiss jazz at all, so this was good exposure.

Not the entire record of Billy Bang Quartet's Spirits Gathering but the song Blues In E would fit the bill.

It's streaming right now, so a CD should be inevitable...

Still wondering who's playing that infernal guitar on track 8. Strings sound super tight and the player is plucking the hell out of 'em.

The entire collectibles/antique/art market is certainly rife with money laundering and fraud. Recent news here in the US documented how certain comic book conduits were fronts for big money collectors/dealers. Now, LP flippers make some cash, but it's nothing compared to the last 3 to 5 years of comic books. Those transactions make $400 Music Matters Blue Note reissue flips look like peanuts. US taxpayers now have to file 1099s (a certain tax form) on amounts over $600 collected through digital transfers. There's ways around that of course, and a certain amount of tax evasion goes on by regular folks all the time relating to similar gains, but a substantial portion of online sales are going to be affected by this new requirement. People who thought they had a good side hustle via online resale apps are going to get popped for amounts that make those transactions negligible in terms of any real economic benefit.

B sides and remixes from TI's latest album The Slow Rush. The modifications are definite improvements over the original songs IMO.

That Young Lions thing probably ruined all that for them, both from the artist's perspective and any major label's.

Puts a damper on any regular joe trying to resell records - or any collectibles (hell, or really anything of volume) - online. The $600 threshold is way too low and is pretty ridiculous. I think this is part of it, but labels probably run the numbers on product sales and peg each artist with the optimal price point for turning the quickest and highest profit. Hence Evans and Mariah get more copies than Ayler. I appreciate what Resonance does as I love their Rollins in Holland and some other Evans and Montgomery sets they did. But none of their LPs are AAA, so the runs on these things don't make much sense to me. Most of their titles are on CD and/or streaming platforms. No need to break necks or wallets to get these things.