Kevin Bresnahan

I discovered I lived around the corner Brad Delp from the band Boston, when they showed scenes from in front of his house after he died. It was surreal.

I guess those Miles Davis reissues from MoFi will now be worth a lot more since they may represent the last "audiophile release" they will get?

There's one for $20 at discogs: https://www.discogs.com/sell/release/5151710?ev=rb I'd also like to add that hybrid SACD (it has a CD layer) that Fantasy issued in 2004 is supposed to be the first digital release of this title that used newly-found master tapes and while I have not heard it, it is supposed to sound very good. There's a fairly inexpensive copy from Canada at discogs: https://www.discogs.com/Art-Pepper-Art-Pepper-Eleven-Modern-Jazz-Classics/release/9726101

The real question would be, "How much more does Steve Hoffman charge versus whoever will do it otherwise?". Remastering these tapes isn't free. Someone has to do it and they will get paid. I have no idea how much Hoffman charges any more than I know how much Malcolm Addey charges. But I do believe that Mosaic could get this info rather quickly.

Sales-wise, I know that I'm right. I just don't understand if Mosaic is having problems drumming up enough sales why they don't even consider this. Steve Hoffman's name on a CD, no matter if you like his work or not, will improve your sales. I have no doubt on this.

I wonder who will master this now that Ron McMaster has retired? Of course if Mosaic would listen to me, and I've told them this many times, they could simply hire Steve Hoffman to master a set and they'd get their 750 unit pre-order over and done in a matter of weeks, maybe even hours.

"Thousand Finger Man" was issued in 1969, the last year of the label's existence. "Beautiful" was issued in 1970, so even if it was made for Solid State, the label was gone by then. It was probably slated for Solid State, UA's Jazz label, but got switched over to Blue Note.

Candido's follow-up LP, "Beutiful", was released on Blue Note though, so "Thousand Finger Man" was issued right on the changeover.

Dam... I'll miss you this trip. I'll be in California. My wife & I have an early Saturday flight to LA and we'll be driving up the coast to Oakland. We're spending several days up in Napa & Sonoma. Make sure to let me know when you'll be up again and we can get together.

Maybe these CDs will be needle drops of original LPs?

Good points Dan. My last house had a lively listening room. Cathedral ceilings, strange angles, hardwood floors, large glass windows, a slider, an open staircase, a balcony, a brick fireplace - you name the worst things for a listening room - this room had it. I put down a large area rug and it helped tremendously. I hung a huge canvas painting along the main wall and that helped quite a bit too. In the end, after adding these "wife approved" sound modifications, it was still a bit of an echo chamber, but with these few treatments, it worked for me for almost 20 years.

Music Matters has a 33 rpm version too: https://www.musicmattersjazz.com/Andrew-Hill-Point-of-Departure-Blue-Note-33-rpm-p/33bst-4167.htm It sounds very good to my ears and it's cheaper than the 45 rpm version, even on the used market.

That was cool but in the end, was that the best sound? Room interactions are part of seeing a band play live. While I would agree that the untreated room sounded pretty awful, the fully treated room sounded dead. Also, this video is really only valid for that single drum placed in that single location. Add a few more instruments and this changes again. Put speakers in there and it changes another way. What's good for this drum in this room might not work for a pair of speakers in a different spot.

Partly why I pre-ordered the thing. I wanted to make sure it happens and I wanted to make sure I got one.

I checked the date of the original post as I thought it was an old, resurrected April 1 post!!

I didn't get that E-mail but I preordered that set!

On the CD "On A Different Level", the track "Backwoods Song" is a Bari/Bass duet. It is sublime. I am not a huge bass fan, but this track will often get the "repeat" button pressed.

My favorite is "On A Different Level". Just a fantastic recording from end to end. "Flight Of The Eagle" is also very very good. On both of these dates, Nick sticks to his bari throughout, which is part of the reason they are my favorites. I am a sucker for the bari and Nick was quite the player. I am so lucky that I got to see him many times. I got to see him go toe to toe with Cecil Payne one night. That was memorable.

I tend to agree that there is a lot of mindful bashing. And the bad guys are so deserving of the bashing/killing that you really have no sympathy for them. Guilty pleasure, really. I am starting book 5 - I bought a box set of the first 6 books - and so far, I have been able to decipher some things well before Reacher. For instance, in the 3rd book, "The Visitor", I figured out that the victims were being hypnotized by the FBI agent about halfway into the book. (highlight the previous text to see the spoiler). It was one of those books where you close the book and say out loud, "You idiots!! It's right in front of you!" I do enjoy a good action/mystery/adventure book and these are well written. I can see myself going through this series pretty quickly. Heck, I've already gone through 4 of them on two weeks.

I started reading Child's Reacher series and I agree with all points. Reading a Reacher novel is a lot like watching a Rambo movie. The bad guys are sneaky, dirty scumbags that deserve what Reacher dishes out and he will kill or maim them all by the end. I see that they made 2 movies but... with Tom Cruise as Reacher??? Jack Reacher is 6' 5" 220. Tom Cruise?? Really? No way.

I've seen Benny several times. I've actually lost count, to be honest. You are right in that he used to put on a great show with lots of great tunes. But the last two times I saw him, he played the exact same set list in almost the same order. The stories were the same too. In fact, they broadcast the second set to the last show I went to. I listened to it on the ride home and the second set was identical to the first. He used to play different tunes each set but not today. He is 90, after all. I was very glad I didn't buy tickets to both sets like I usually do for guys like Benny.

I skimmed the Acid Jazz scene a few times, picking up CDs from A Tribe Called Quest, Us3 & Buckshot LeFonque (Branford Marsalis). I have no problem with it or that particular term to describe it. What I don't understand is that they chose to co-opt late 60's/early 70's funky soul as a branch of it. Shirley Scott's "Hip Soul" was just what the title said it was - Hip Soul. Sure, you could dance to it, but I doubt this was getting cranked up at the dance clubs back in the day.

I have this music on the CD "Legends of Acid Jazz". Legends of Acid Jazz... What were they thinking with that series name? Terrible name but it was used to put out some great music that might not have made it out of the vaults otherwise.

192 kbps might be the cutoff for where people stop being able to tell that it's compressed, but since most of us listen to Jazz with prominent cymbals, which often get mangled during compression, our music might not pass the "smell test" with 192 kbps.

Unfortunately for Goff, Brady is now the yardstick for the kind of QB everyone wants. There is only one TB12. Goff can still be a very good QB. He needs a few more pass catchers. Cooks is a very good WR that's getting great WR $$. He's no Julio Jones when it comes to fighting for the catch. If he ain't open, he ain't catching it. They missed Kupp out there and they really don't have much at TE. Get him another WR threat and a tight end that can draw off a safety doubling Cooks and see what happens.