Kevin Bresnahan

Nice sounding LP and the music was better than I expected. I don't know why, but I always thought this would be boring funk, especially with the All Music review. I think it's a fun record and Idris Mohammed is great.

Having never heard Kindred, I was never been willing to spend "Venus money" and certainly not "Venus SACD money" on these recordings. I see a copy for $14. Is it worth picking up? Then again, it is Amazon and there are CD-R Venus CDs on there.

Up for 2020! I was just listening to these tunes again the other night and "Funky Drummer Boy" is so fun. Jim - given the demise of PledgeMusic, are these tunes available elsewhere?

My 78 year old uncle contracted it way back in the early days (April or so) and with his heart problems, I didn't think he was going to make it but he got a mild case and seems to be OK today. My mom's place hasn't had a new case in a week. It was getting to the point that I was dreading mid day phone calls from her.

There are several CDs by the Mingus Big Band that were put out on the Dreyfus label in the 90's that are well worth seeking out. I am particular to "Gunslinging Birds".

I am only guessing, but there has been a trend over the past 40 years or so, maybe stemming from Bob Carver's famous (infamous?) transfer curve challenge, that the complex impedance of a speaker's load will interact with an amplifier's output transformers to shape the sound. In other words, the sound you hear is the result of the amp/speaker combination and not just the amplifier itself. A bench typically uses fixed loads to test the amp. I don't tend to agree with this interpretation because I don't believe that an audio amplifier outputs are that affected by the speaker's variable impedance, at least in an audible way. Audio amplifiers are designed to work with audio speakers and it seems to me that only a badly-designed amp would sound vastly different from speaker to speaker.

Interesting article: https://newyorkjazzworkshop.com/where-was-jazz-in-the-1990s-part-1/ but it seems to ignore the fact that In the late 80's to the mid-90s, smooth jazz dominated the jazz landscape, including commercial radio. I remember walking into the Tower Records "Jazz Room" and seeing stacks and stacks of Kenny G, David Sanborn and The Rippingtons CDs. There were two clubs in the Boston area and one catered almost exclusively to the smooth jazz crowd. To my recollection, the contemporary jazz scene was dominated by Wynton and his like-minded offshoots but even then, guys like him and other "big names" like Dave Brubeck, Herbie Hancock & Sonny Rollins played in big concert halls and I hardly went to those. Most of the live shows I went to back then were in the smaller clubs to see artists whose main body of work took place in the 50s, 60s & 70s - players like McCoy Tyner, Joe Henderson, Stanley Turrentine, Bobby Hutcherson, Elvin Jones, JJ Johnson, Jackie McLean, Johnny Griffin, Tommy Flanagan, Benny Golson, etc - that list goes on & on. I should've kept a journal. I can't forget to mention Nick Brignola. I never missed a set when Nick played. I did have some younger favorites playing in the hard bop idiom (like the players in One For All) but a lot of them didn't make the trip to Boston until very late in the 90s. Some of the bigger name artists on the "younger" side that did get to Boston who were in prime form (not to put down their subsequent work) were players like Joe Lovano, Renee Rosnes, Michael Brecker, Greg Osby, Chris Potter, Ralph Peterson - again, this list could go on & on. Some of these shows were incredible. Listing just a few of my favorite recordings from the 90s is easy... Nick Brignola - On A Different Level (1990) Joe Lovano - From The Soul (1992) Renee Rosnes - As We Are Now (1997) Michael Brecker - Tales From The Hudson (1996) Joe Henderson - So Near, So Far (1993) or Double Rainbow (1995) Eric Alexander - Up, Over & Out (1995) Harry Allen - Day Dream (1998) Teddy Edwards - Tango In Harlem (1995) Danny Gatton/Joey DeFrancesco - Relentless (1994) Jimmy McGriff/Hank Crawford - Right Turn On Blue (1994) Gary Smulyan - Homage (1993) Lew Tabackin - Tenority (1996) Frank Foster - Leo Rising (1997) ... and probably another 20 titles easy. Now that you got me to make this list, I see there are quite a few of these that I haven't spun in a while. I'll have to add them to pile.

I'll listen to Kenny G's Xmas CDs over Dylan's any day. It's that terrible.

His Christmas album should have been marketed as a muppets CD because he croaks more like a frog than Kermit.

Jesus, if it's anything like his Christmas album, you got rooked. Dylan's Christmas CD is the worst Christmas CD I've ever bought.

I bought one of Noah's LP directly from him at a live show (I asked him to bring it if he had any). I still haven't picked up his second one. I am also interested in Jason Palmer's LPs. I just don't know how this label stays in business since they charge so much for an LP and require you to buy so many at once. It's an unusual business model - rich & "not too picky" is not a usual combination for Jazz fans.

Those bonus tracks are also in the Mosaic.

Well, that was a pretty terribly advertised sale, because this is the first I heard of it. I like their recordings but their records are overpriced. Maybe on sale...

Exactly why I don't buy new Mode CDs any more - that's a CD-R.

As a noun, it's "seam splits". As a verb, it's "split seams".

Some of the inners I've found stuffed inside used records I've bought... you could hear the record getting scratched when you slid it out. Ads are cool and all that, but all I care about is the record. Is it in good shape? Yes. The wrong inner? I'm not buying that! Ha ha.

Somebody liked my idea for this thread and started a sister thread over on the Hoffman forums. It somehow veered into how they repair *inner* sleeves. Repair inner sleeves? WTF? I have never, ever considered repairing an inner sleeve. It's called trash. Recycle? Sure. Repair? No. I bought a couple of packs of MoFi inner sleeves years ago and I will swap those in for a real bad inner but that's the most I'll do.

I was just playing a Donald Byrd LP ("Byrd In Flight") and it has a "J$4.99" price sticker from Plastic Fantastic with a phone number of (215) 525-ROCK. I'll leave that one on. The problem with having the opening point up is that the edge you'll be looking through to see the spine will have the melted seam of the poly sleeve in the way. I have a tough enough time viewing these worn spines without having a plastic rib in the way.

When I use a sleeve, I always push the record into the sleeve with the opening in first. This prevents the LP from falling out as you pull the sleeve off the shelf later. If you push the LP all the way in, it also allows you to see the spines when you look inside the sleeve... as long as it's not worn off, which seems to happen on a lot of older Jazz records. Ha ha ha... exactly! The Timber Nation shelf I was looking at was custom designed to fit into that space. I may just "bite the bullet" (what an odd term) and order it anyway. I am pretty much out of room if I don't. I suppose I could just stop buying records... not a bad idea.

You like his bow work? Wow. I can't remember hearing anyone else say that.

No luck on the Hutcherson date.

I saw that lean and tried to stuff some of those new Tone Poet LPs in that slot but no go. Too tight. Most of these Tone Poet LPs are gatefold, which is why my rack is getting so stuffed. I might order a new rack from Timber Nation, but they're big bucks. Good catch on the afghan. My mother-in-law made a bunch of them and like you, my wife can't get rid of them either. They are laying all over the house for whenever my wife gets "a chill".

They're actually on sale today at the bandcamp site. You can get the Tubby Hayes 2 CD set at a discount with a coupon tubs20 (today only). https://jazzinbritain1.bandcamp.com/album/free-flight-the-ron-mathewson-tapes-vol-3?fbclid=IwAR1VO7n5Bhk--0XIVcR7UjbdW8VC2h8rn9jA-xopzrXS5O9nfm32T2HKUqo

Dust is not an issue when you have your LPs crammed in as tight as mine are.

Never was a fan of this one. I'm not a fan of bass solos to begin with but Chambers' bass solos on this LP just don't thrill me and when he pulls out that bow... ugh.