Dub Modal

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.

You can't keep peppering the guy with questions without answering his first. That's just the way it goes.

So Rudi Mahall on bass clarinet then?

The two songs written by Wess are my favorites on that album. On last year's BFT I included Don't Come, Don't Call and the song received positive feedback. There's some excellent playing by everyone on that record.

I would bet it ends up on Ayler's Bandcamp page eventually.

Yeah, I use that whosampled site a good bit. DJs who mine for those samples and then craft a song around them are really talented.

Great selections! I haven't heard the Ammons LP you posted last but I'm sure it's a good one.

I love this one

Interesting information. Thank you.

These are fantastic

Two albums I've been enjoying as well.