MartyJazz

I keep all the iTunes database(s) on an external drive. Using Windows Explorer, I see that the Album Artwork folder is there and seems to be populated, but I can't figure out how to make the individual art covers show up in the iTunes program. What's more is that when I click on "Get Info", I get a message for each song/title that "the original file cannot be found. Would you like to locate it?". More confusing is that when I then click on "Edit", "Preferences", "Advanced", the location of the iTunes music directory on the external drive does show up, so why can't each individual selection be found?

Today, I open up the iTunes program and while all my selections are listed, the artwork for each selection is gone. I'm afraid to synch my iPod with the program for fear that the artwork will then disappear also on the iPod. Getting info on each selection also shows an absence of the artwork. Suggestions?

Planning to attend. Have enjoyed live Coryell in the past, never have seen and quite frankly, pretty much unfamiliar with, Smith. I understand the drummer will be Marty Morell. This coming Saturday eve at the Miniaci Performing Arts Center at Nova University in Davie: http://southfloridajazz.org/

I would have loved to see the "lost sextet" Miles group of the late '60s when Joe Henderson briefly joined the proceedings.

I have a PAL DVD-R of interview and performance footage of Cecil in Paris, 1968 (51 minutes). The quartet includes Lyons, Silva and Cyrille. If memory serves, I most probably received it through a jazz vine some time ago.

Weird iTunes tune recognition instance today. I put in Disc 3 ("Glad to be Unhappy" session) of the Paul Desmond Complete RCA recordings box set today, and while iTunes recognized the tracks, the "genre" indicated was not "Jazz", rather "Electronica/Dance". Same thing with Disc 5 ("Easy Living" session). Huh?!!!

Many people do who love nothing more than the sound of their own voice. Anyone who can survive in the broadcasting business for 40 years is doing something right, but anyone who takes to focus away from the music and moves it to themselves is doing something wrong. A few years ago when I lived in northern New Jersey and would take a 20 mile drive to work in the morning, I would tune in WKCR as soon as I started the car in order to listen to Schaap's "Bird Flight" show. I can't recall exactly how many times I would make the drive and not hear a note from Bird whatsoever, rather I was subjected to Schaap's continual revisionism of a period of jazz during which, at best, he was in diapers, not having witnessed a moment of it. Finally, I wised up and would listen to cassettes of Bird (that dates me somewhat!) on my way to work. Schaap truly loves the music but I don't know how a knowledgable jazz fan, as opposed to a neophyte anxious to learn, can listen to him.

A rather interesting LP (Pausa) I'm listening to right now, but one that is certainly NOT essential, is this collaboration with Enrico Intra and other Italian musicians: 16-17 October 1975, Milan, Italy Gerry Mulligan (bs,ss) Enrico Barigozzo (fl) Giancario Barigozzi (fl) Pino Presti (vlc) Enrico Intra (p,comp) Sergio Farina (g) Pino Prestipino (el-b) Tullio de Piscopo (d,per) plus strings

The record sessions have pretty much been covered. I would simply differ in one respect, in that to my ears, I very much like the collaboration with Getz particularly on the tracks that they play their chosen instruments, e.g., "That Old Feeling", in which the interplay between the two men is terrific. (There are also three lesser tracks in which the men switch horns). I would just add that there is a wonderful video of Mulligan with Webster on the Dinah Shore TV show back around '59 or so. They play superbly, and at one point, Mulligan quotes a portion of Webster's well-known "Cottontail" solo from the original Ellington recording, much to the delight and surprise of Webster. Well worth seeing.

Great suggestion, except that I chose to edit a used field within each playlist, i.e., Genre. Since most of my playlists consist of various jazz subgroupings, e.g., "Bebop", "Big Band", "Modern", etc., I simply removed the "Jazz" category in the Genre field and substituted the actual jazz subgroup playlist names. Sure enough, the new Genre fields showed up in the entire music library, so if the same problem should occur again where the playlists are gone, it should be easy to sort the entire library by genre and easily re-create the playlists. Thanks

Thanks. Yeah, I simply dragged the iTunes folder from my external hard drive to the iTunes window and that restored my music library. However, I had to laboriously re-create my playlist folders and re-insert the music into them, a real pain that bugs me because I don't know iHow and iWhy the problem occurred in the first place.

Here I am with an iPod on which I have upwards of 700 selections separated into various playlists of my own choosing, and today I open up the iTunes program in order to add more music and, lo and behold, it's Day One, i.e., none of my selections are listed. What's more is that the original defaults of the iTunes program are there, e.g., their suggested playlist categories, etc. When I go into "Edit", "Preferences", I see that my iMusic folder on my external hard drive is listed and indeed, it still does contain all the music that I have loaded from various CDs, but I don't see any option on the iTunes menus that would allow me to import my whole library of music, and to restore my chosen playlists, necessary for separating my music into various categories of my choosing. Help menu isn't especially helpful. Suggestions? Also, any reason(s) as to why this problem occurred?

I use EAC to create the WAV files from the tracks on a CD, then use Nero to write the CD making sure to click the option "No pause between tracks" before burning. I do this even when burning CDs that do not have continuous tracks, otherwise an extra two seconds of silence would be inserted between tracks. Of course, for live performance CDs, it is essential to click on the no pause option, otherwise unnatural silences would be inserted, e.g., break-up of audience applause, etc. BTW, not only do you get a more accurate burn by first creating the WAV files through EAC, you can, before burning, use a WAV file editor, e.g., WavePad, to either edit out extraneous material from a CD, e.g., excess talking or band set-up noise on a live gig, or create separate tracks to isolate such material, especially helpful when one wants to create a personalized compilation of music.

Lee is pushing 83, if not already there. For Lorraine to do what you say she did, sounds pretty harsh. Man played for nearly an hour, what's wrong with that? How many sets on a weekday night?

If you're willing to pay this price, do you think the seller might forego the shipping charge? Click this

I was fortunate to catch Jimmy Heath a couple of years ago twice in one day, first at an open admission class at Palm Beach Community College where he fronted a quartet, three locals comprising the basic rhythm section. He discussed and demonstrated how original jazz melodic lines can be placed over standard chord changes and took Q&A from the audience. Very engaging as well as his wife, Mona, with whom I chatted afterwards. That evening for the ridiculously low price of $10, I showed up for the public concert, again at PBCC, where Heath fronted an orchestra led by the PBCC's David Gibble, performing many of his jazz compositions that he has arranged over the years, e.g., "C.T.A.", "Gingerbread Boy", etc. Heath advertises regularly at the back of various periodicals, e.g., "JazzTimes", in which he offers to conduct master classes at various colleges, venues, etc. I'm sure this is how these one day events came about. In any event, he is a warm, engaging, obviously talented, individual, still going strong. I look forward to also reading a book of his life.

Checked out your suggestion but there is a problem in that key info is not requested. The form that pops up does not allow for track titles nor album label. Since the Wallington LP I previously mentioned, "At the Cafe Bohemia", (Progressive PRO-7001) contains alternate takes, in a different order, of the master tracks more commonly available on the similarly titled Prestige re-issue, I don't see how simply inputting artist and album title is of any help.

As a recent convert from one who regularly took a CD player to the gym in order to hear a CD while doing cardio, to one who now comes armed to the gym with an iPod strapped around my shoulder while I do all things gym in addition to cardio, I'd like a recommendation for a portable unit I can install in my home office. Ideally, the speakers would be decent (built-in or hooked up separately), and it would have in addition to the iPod docking station, a single play CD slot (front loading or flat on top). Don't need AM/FM, but I think that's automatically given with these units. Finally, I want something cost-effective, so don't recommend a Bose unit, please. Saw two Sony iPod/CD/AM-FM boom boxes at Best Buy, priced at $85 and $110, but was wondering if something better, more or less in that price range, is available, perhaps elsewhere.

Interesting to see this thread because I just got an iPod and experienced the same situation when transferring a CD-R made from an LP. In my case iTunes recognized the George Coleman Octet recording, BIG GEORGE, track for track. I was amazed. However, in the second case, a CD-R made from an obscure LP of the George Wallington Quintet performing alternate takes of tunes originally released on the "Live at the Cafe Bohemia" date, iTunes did not recognize anything. I find it hard to believe that iTunes recognizes tracks by a combination of the number of tracks plus their individual timings, but I can't come up with another explanation, so.....

I also share the fear of which you speak re the music of Glass & Reich, however one Glass composition that I was turned onto because it pervades the soundtrack of an interesting French film, "La Moustache", is his Violin Concerto available on the following disc which was the version actually used for the film: Here

Point taken. I've decided not to go for this set even though it can be had new from a private seller at a fraction of Amazon's asking price. Sure wish Victor would box their '50s Heifetz material.

Thanks. Obviously I should have looked at the site more carefully.

As one who has a few of the RCA Victor Red Seal CD reissues of Jascha Heifetz's marvelous mid-1950s renditions of the great violin concertos by Beethoven, Bruch, Brahms, Mendelssohn, etc., I went to the CD Now site (Amazon) hoping I could find a box set of these recordings to give as a birthday gift to a dear relative. However, the only reasonably priced box set I could locate was a 6 CD issue by EMI. I was all set to purchase it when I realized that as great as these recordings undoubtedly are, I would first like to know around when they were recorded, i.e., pre-HiFi or subsequently. I don't care about a lack of stereo as the Red Seal hi-fi recordings fidelity-wise are excellent. I'm concerned whether the EMI recordings are from a far earlier period where audio fidelity might be an issue. So I'd appreciate any knowledgable feedback about this. EMI box link

I beg to differ. As one who was there for the evening concert (see above my post from Feb '07), I don't see how one can call it a "jam session approach" when you have septet performances of the more complex Monk compositions, e.g., "Four in One", "Bye-ya", "Off Minor", etc. Jam session approaches to Monk ususally mean, at least to my ears and what I've personally witnessed, pedestrian versions of his simpler blues pieces, e.g., "Straight, No Chaser", "Blue Monk", with the obligatory rendition of his most popular ballad standard, "'Round Midnight". That November '81 double concert (afternoon and evening) remains one of the highlight live jazz event memories for me.

I found this 2 LP set back in the early '70s, interestingly with a white label disc one and a blue label disc two. Haven't listened to it in years so I can't tell you exactly what you can anticipate, but reading your post with its overflowing enthusiasm makes me want to give it a re-listen.