Kevin Bresnahan

Yeah, in my experience, you're out of luck there. Too much stress on that joint. I can't think of any glue that will hold up to the forces of opening and closing the case. One time, I considered cutting the entire top off of another case and gluing that in there but it would look pretty ugly when it was done so I just gave up trying to fix hinges. Is it something like this?

If you are talking about trying to glue on separate teeth or something similar, the stresses on those teeth will likely make it impossible to glue something in there that would withstand jamming a CD onto it. I've never had any luck fixing broken teeth. That's why I cut out a whole hub. The hub can be glued in and withstand the force of removing the CD from the hub. As for the type of glue, superglue, probably sold under the brand name Gorilla Glue, is probably the best. In my experience, it is the only stuff that works well with small pieces. FWIW, I have also tried using superglue to glue broken hinges on a CD case. That never worked. After a couple of open/close actions, the case would always fall apart. If I remember correctly, the first time I did this was to repair broken teeth on a fatboy case that held 3 CDs. The teeth on one side of the center piece broke and I couldn't find a double-sided hub replacement for a fatboy case. So I cut out a hub from another CD tray around the large circle (~1 inch) and after I shaved off the old teeth from the broken tray, I glued that down and it worked fine. Now I will admit that this hub stuck out a bit more that the old one because it was basically a "hub on a hub", but it wasn't enough to interfere with the closing of the case.

I once used a razor to cut out a center hub from a old CD tray and I glued that hub onto another tray that had broken teeth (after I cut out those old broken teeth. I don't remember why I did this but it worked. I believe I used superglue. I have also glued down plastic center hubs that I cut out of old trays into CD cases that used a simple foam plug to hold the CD. Those foam posts were a terrible idea and I'm glad that they never became a standard.

Leonard (Lennie) Hochman was on the scene for many decades before his recording debut as a leader in 1995 on the Brownstone label, "Until Tomorrow". Less than a year later, he returned to the studio to record his second and final leader date, "Manhattan Morning", also on the Brownstone label. For "Manhattan Morning", he brought in Kenny Barron on piano, Harvie Swartz on bass, Joe Locke on vibes and Victor Lewis on drums. I really liked this CD and wanted to see & hear Lennie live. Sadly he died in 2000 and I never got the chance to see him play.

Now playing - Disc 1 of:

I just ordered a copy of this myself. It hasn't arrived yet but I'm looking forward to hearing it. I haven't seen saxophonist Avery in many many years. I wonder if he's still playing? I also thought about buying their recording with Antonio Hart in the sax chair, "American Meditation", but I held off.

For Ned Otter's debut recording, "Focus", recorded at the Van Gelder Studio for his own NO label, he managed to bring in Tom Kirkpatrick on trumpet, Harold Mabern on piano, Dennis Irwin on bass & Billy Higgins on drums. This was also released 14 years later on the Two and Four label as "Powder Keg". To top if off, for his second recording as a leader, he brought this band back and added George Coleman. That was released on his own label as "The Right To Know" and re-released on the Two And Four label as "So Little Time".

Pianist David Leonhardt was able to parlay his time with David Fathead Newman into a debut recording on his own label that featured Eddie Henderson, Robin Eubanks, Rich Perry, Ray Drummond & Marvin "Smitty" Smith. Lonnie Plaxico played bass on 2 tracks too.

https://www.facebook.com/events/3204755452915495/ Live stream tonight.

Damn - I was worried about this when I saw this Go Fund Me. Thank you for all the great music Mr. Cobb.

I had never heard of this session and after some research, I found that it had been originally released in Japan as "A Love Story" by the Manhattan Trinity +1 on the M&I label. It was reissued in Japan in 2011 and there are some copies out there. One is on its way to me.

There is really no rhyme or reason to the way the auctioneers divided up this collection and in most cases, their starting price is way too high for what little information they offer in the description. I also have to wonder if they even understood what they have, as they label some records and CDs as "rare" while actual rarities are not listed as such. This is bumming me out a bit as it makes me think that this is what my collection will look like when my wife auctions it off after I'm gone.

Being that this was a limited edition that was only released in Japan, you might want to consider using CD Japan's "Proxy Shopping" feature. A few board members have reported some success using it. https://www.cdjapan.co.jp/product/COCB-54129?s_ssid=e466915ec661668b4a BTW - if you have the budget, someone on amazon.co.jp is selling a copy for just under $600.

I'm only 57 and my doctor told me nearly the same thing as you when I partially tore my rotator cuff. He said that at my age, unless I'm big into sports activities involving my shoulder, it shouldn't matter. He recommended that I just leave it alone and let it heal. He said a surgical repair would probably only improve it marginally and that I really didn't need that marginal improvement to live out the rest of my days. He added that going in to repair a tear might make the pain worse and that he would only recommend getting it repaired if I was in constant pain. BTW - my shoulder has gotten much better so I think my doctor was right... at least this time.

I did order that 3 CD set "Live in L.A.". I liked what I heard.

That's right, Belden was indno, I think. Still bums me out to see Steve Schwartz's comment. He was one of a kind.

After reading Osmond's Wiki page, I now get Jim's joke. I knew Osmond was an LA cop but I never heard the rumors about him being Alice Cooper or John Holmes. I guess I ran in the wrong circles.

It saddens me a bit to see comments from the late Bob Belden (youmustbe) and Steve Schwartz (stevebop) on this thread. I really miss seeing Steve around the Boston Jazz scene. I guess that's what you get when you resurrect old threads.

I was just searching to see if I had a certain George Garzone CD when I stumbled upon this fairly new (2019) release: Does anybody have this? The one track I listened to sounded very good but is it worth getting 3 CDs worth?

I am waiting to see how it goes. I won't be in the vanguard, that's for sure. I am worried about the large number of dummies I see out there shopping without masks and I'm not risking my health just to go record shopping (sorry Jack).

Mike - Over in another thread on Herbie Mann, this CD was brought up and I brought up the fixed version of this CD. Did Fantasy send you a new CD with corrected artwork or just a new CD with "A Sad Thing" on it? Did they fix the disc artwork as well or did they just remaster the CD with the right tack and use the same CD label? I cannot find any pictures of this CD with the corrected bonus track anywhere on line. FWIW, I have never seen or owned a corrected version so I wonder how many there are out there. All of the ones for sale seem to be the original (incorrect) pressing.

There should be two versions of that OJC CD out there, but truth be told, I never found the corrected version, which has the bonus track, "A Sad Thing" (from the compilation, "Blue For Tomorrow"), and not the track "Blues For Tomorrow". Herbie doesn't even play on "Blues For Tomorrow".

To clarify the "Lion gave the tapes back" statement... According to Woody Shaw's son in the liner notes for the Mosaic box, "Woody Shaw - The Complete Muse Sessions": "Cassandrite is Woody Shaw's first actual record date as a leader. It was to have been the start of Woody Shaw as a Blue Note recording artist. But a full album was never completed. Within weeks, Alfred Lion completed the sale of Blue Note to Liberty Records and was already regretting the decision. He gave these tapes back to Woody and cancelled deals with a handful of other artists with whom he was in discussions." So from this, we can assume that artists that were newly-signed to recording contracts in late 1965, like Woody Shaw, had their deals cancelled and if they had already gone into the studio, they were given back their master tapes. Mobley was not a newly-signed artist in late 1965 so he would not have been given back recently recorded master tapes. In fact, he recorded "A Caddy For Daddy" during the same month that Shaw went into the studio for Blue Note (Dec. 1965). My only reason for me bringing it up above was that it could be one way for a recording to not make it into the tape logs. I was not saying that this is what happened here. I am sorry to have brought it up at all.

That's a rare one... and I just remembered that I managed to stumble over a copy a few years ago. Time to give it another spin.

No, Michael Cuscuna gave those tapes to Horace. And it sounds like when Lion gave artist back their tapes, it was so that they could release the music themselves. I doubt that he would have given artists tapes of stuff that was released as they would have no rights to it. Blue Note would still own it. It almost sounds like the artists who recorded during the short period of time that Lion was selling to Liberty, some artists tapes didn't fall under Blue Note ownership, so Lion could give them back. I doubt that Liberty would allow anything they legally bought be given away.