Kevin Bresnahan

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.

I added this CD to discogs.com for your reference. Sucky scanner - sorry. https://www.discogs.com/Cicci-Santucci-Arrivederci-Roma/release/15312035

But Hank claimed that the "Algerian war" recording was made for Blue Note and Michael Cuscuna found the original session notes. He documented every Blue Note recording session in his discography... well... except... according to the liner notes of the Mosaic box set of Woody Shaw's Muse recordings, there was a short period in 1965 where Lion supposedly gave back a few master tapes to people he recently recorded. But if Mobley was one of them, he had the masters so he should have said that in that interview. I still think Hank messed up and "Thinking of Home" was the record he was talking about.

I was over at the Steve Hoffman forums this morning and what do I see? A fairly long thread started by someone who was thinking about getting into Reel to Reel (also known as R2R apparently). It looks like there are a lot of users or former users contributing their opinions. An interesting read for sure: https://forums.stevehoffman.tv/threads/reel-to-reel-should-i-bother.506071 From reading this thread at the Hoffman forum, I am still glad that I never got into it. Most of the posters sounded relieved that they got out of R2R.

I could swear that we went around and around on the two unreleased sessions Mobley was talking about and the consensus was that the "Algerian war" album was "Thinking of Home" and the "brass ensemble record" was "A Slice of the Top". I do remember someone on the Blue Note bulletin board mentioning that he talked to guitarist Eddie Diehl, who claimed that he played on Mobley's unreleased "Algerian war" record. At the time, Diehl didn't even know that the recording he made with Mobley was released as "Thinking of Home". I don't remember if that person got a chance to get Diehl's thoughts on it later. In fact, I think the poster never returned before the board's demise. Since Diehl has died, I guess we'll never know.

If reel to reel was making a comeback, I would think that at least one band on bandcamp.com would list a recording on the format. I cannot find any new music releases on reel to reel. Lots of cassette releases but not reel to reel. The last reel to reel releases I read about were from The Tape Project. Until I found out about their prices for master tape replicas, I thought about getting into it for fun. But those prices are outrageous to me for something I was planning to do for fun. A few of these titles were very interesting: https://tapeproject.com/jazz/

Pepper Adams & Barry Altschul - Be-Bop? (Musica). This is fairly hard-to-find yet relatively inexpensive LP from France. I'm listening to it via mp3 files created from a needle-drop CD-R that was made from an original LP. 3 steps from Kevin Bacon. Piano sounds very rinky-dink. Must be a French thing (That's a joke revolving around the piano sound on Hank Mobley's "The Flip"). I do wish this was more readily available as it's not a bad date. To answer the title's question - no - this is not Be-Bop. It's bop, certainly, but this is not going to warm the cockles of a be-bop fan's heart. No matter how hard the French tenor player (Jean-Pierre Debarbat) tries, he still comes off sounding like a poor man's Coltrane "sheets of sound" during most of his solos.

I don't how far you want to go down this rabbit hole but let's take it to the extreme... you hear digitally. How's that you say? Well, your eardrum converts sound waves to nerve impulses that your brain interprets as "sound". Your nervous system transmits this via nerve impulses. The word "impulse" is specific in that it has a rapid rise and a rapid fall. From a 0 to a 1. Digital defined. So your brain is converting digital to what you perceive as analog all the time.

Jim - you're mixing up the sampled soundwave with the soundwave that comes out of the other end of the digital to analog conversion. Using a CD player as an example, the signal coming out of the analog outputs does not have "undetectable gaps". That's not how the digital to analog conversion process works. It's not a simple process that just converts those small chunks of data to small chunks of analog waveform. It uses algorithms that stitch these pieces back together seamlessly to recreate the waveform that was encoded with the digital bits. The digital and analog conversion processes are both well understood. As long as you take enough samples at a high enough rate of speed, you can replicate the waveform exactly. There are plenty of papers on this. But let's get back to reel to reel anyway. We've had enough digital versus analog discussions on these boards already. I would probably still have a reel to reel deck today if it had managed to stick around past ~1978, when I was getting heavily into audio. But by the end of the 70's, reel to reel tape production was really only popular in the classical music genre, which was not my thing then, and they weren't being sold in any of the record stores where I shopped. And cassette tape recording was proving to be able to make a decent sounding recording if done right. I'm still trying to figure out what Chuck has against the cassette tape. I had a pretty nice cassette set-up back in the day so I may be biased, but low cost was not the reason why I got into it. The Nakamichi Dragon cassette deck that I used to drool over certainly was not cheap. With the right deck and the right tapes, you could get a pretty nice sounding system. From Chuck's sigh, I guess he had less success than I did.

Tape does not capture sound vibrations. A microphone captures those vibrations and converts them to a signal that's electronically encoded to magnetic tape. There is "conversion" here too. The ability of that magnetic tape to capture those wavefroms is also limited by the tape medium. It cannot capture all frequencies equally, which is why they tweaked the format over the years, adding things like high bias tape and the use of noise reduction to mask those weaknesses. And again, if you create a digital file with a high enough sampling rate, then the analog waveform can be perfectly replicated. There's no "closer". It can be the exact same. You can say that you heard a before and after with a standard 16/44.1 "CD quality" digital conversion, but it's likely whatever was fed to the analog to digital converter wasn't that good. As for cassette tape vs. reel to reel, I didn't mean to imply that cassette was a better playback medium, just that it was designed to minimize a lot of the mechanical problems inherent with its big brother.

C'mon - every American knows that Bangladesh is in Sweden. This is a joke about how some Americans cannot identify many other countries on a map.

I recall seeing Hollyday live and him burning through tune after tune as well. He really cooked and back then, I probably enjoyed it a lot. I was not as into ballad playing live then, especially when the ballad moved to a bass solo. Actually, I'm still not huge fan of bass solos even in uptempo tunes. Ha ha ha. Strangely enough, I didn't even keep any of his Novus CDs in my collection. I know I had a couple at one point, but where they went is lost to me.