Spontooneous

That's grate!!

Snap and crackle don't worry me, but rumble does. I have a (different) Numark that rumbles like crazy. How's this one?

Yuck. What a gouge. In 2005, I bought a used copy through this board for about $10. Think I saw a fairly priced new copy at the B Side in Madison, Wis., about eight months ago.

I hate to admit it, but ... Chicago at Carnegie Hall. Hey, I was 13.

Don Redman and His Orchestra in an outrageous Betty Boop cartoon. The band plays throughout. Catch the free interlude at 6:00:

Last three quotes in Post #4 have undercurrents of divisiveness or condescension that you can do without. Tom, do you know the Tom Stites who wrote the essay in Post #5? He's lived in KC off and on through the years. I used to work for him. He's possibly a former or current member of your congregation. There's a quote from Schoenberg saying that all music begins its life as improvised music. Dave Brubeck tells a story about being surprised to find that a film of his quartet had been incorporated into a military training film. The military's point, Brubeck says, is that in real-life military situations, you have to do like the guys in the quartet -- improvise, but improvise together!

First season of Get Smart. (Big downhill after that.) First season of Green Acres. Soft spot for the Addams Family; never appreciated The Munsters. And, yes, Mary Hartman. (P.S.: The planted evidence linking Dewey the maintenance man to the fire at the plant was, if memory serves, "three cans of Afro-Sheen and a Marvin Gaye album.")

Little Lotta Little Dot Richie Rich

Don't go messin' with the kid.

Remember that the last round of Legacy reissues was afflicted with that awful copy-protection scheme that was so bad the discs had to be recalled. The financial loss from that means the bean counters won't be smiling on their jazz reissue program anytime soon. Now that it's Sony/BMG, that screws up reissues from the RCA catalog too.

Y'all got me curious, so I dug through the anthologies 'til I found some Jackson and Creath sides. And I paid some more attention this time. Dewey was a firey MF! Such swagger in his delivery.

Oops, I'm late. The Chailly is not bad, the best I've heard among those made in the last 15 years or so. Faves here are Kletzki, Mengelberg and Walter.

Yep, Clem nailed it. Soft spot for Schubert's last one, Schoenberg 2 and 4, Webern and the higher-numbered Holmboe quartets here.

Was that study adjusted to account for the different fragrances of analog and digital?

You don't need Brilliant Pebbles if you already have Brilliant Corners.

And the even-lower-fi mortar between them? Not to mention the acoustic nightmare that is the lampshade.

What a disgrace. You rave and rave about this outlet-plate tweak. Meanwhile, every light-switch plate in the listening area goes untreated. The loss is incalculable. And you call yourselves audiophiles.

click if you dare

Small correction: Last of the Blue Devils and Big Apple Bash were on Atlantic. Yes, The Man From Muskogee on Sackville is probably my favorite McShann record of later years. The Sackville people should be thanked profusely for letting Jay record what HE wanted to record, and not keeping him in the blues shackles that some other producers kept him in.

All of which proves, as if we needed more proof, that the Grammy nominators have listened to few instrumental compositions and few instrumental solos this year.

One time I had a clear view of his left hand while he was playing. That was a religious experience. The man should have written a book. About 15 years ago, I even offered to be his ghostwriter. I was told that there was already a book in the works, being written by a professor in Illinois. I'm still waiting... P.S., Jay told anyone who'd listen that the 1909 birthdate in Leonard Feather's books (and other books that copped it from Feather) was wrong. The family says he was born in January 1916, and there seems to be documentary evidence to back that up.

I admire KD because he was persuasive without raising his (instrumental) voice. He knew he didn't have the punch-you-in-the-face power of Dizzy or Brownie, so he found other ways to get across. I admire KD because he seemed willing to try anything and measure himself against anybody. Bird, Max, Monk, Rollins, Horace, Cecil, Andrew Hill, Muhal Richard Abrams. I admire KD because of the never-ending line of development in his playing. Have you HEARD the way he was playing on that last recording with Abrams? KD fans, unite!

I'm told Scofield and Osby are present most of the time, and there's a long Lesh/Sco/Osby/Molo jam. Haven't seen it myself.

Pretty much every tune Billie Holiday recorded with Teddy Wilson.

I've got that set of Nocturnes too. Wish I had a better mastering. I'm remembering a late recording of the Schubert B-flat Sonata, D. 960, very fondly. The record seems to have gotten away from me, and I'm not sure how I'd react to it now. There's a wonderful late recording of the Bach-Busoni Chaconne too. And in chamber music, the Brahms Op. 25 Piano Quartet with members of the Guarneri Quartet is very fine. This is coming from someone who doesn't even LIKE the Guarneri Quartet.