Kevin Bresnahan

I have this soundtrack on a Japanese CD. It was put out on the Impulse! label. The only negative is that it is very short. It's only about 31 minutes long.

The best soprano sax solo I ever saw live was played by Nick Brignola at Ryles' Jazz Club in Cambridge, MA. He brought the roof down with that solo. I believe it was during his visit with Cecil Payne so I was surprised that he even brought his soprano and even more surprised that he played it. I figured I was in for a battle of baritones. I was very happy that I was wrong.

I read a story that said when Bruce Lundvall took over at Blue Note, he retroactively changed all the old deals to give royalties to old Blue Note recording artists. I imagine Jackie got something by then. Maybe that's why he made that date with McCoy? But I know that the concert I talked to him at was long after Lundvall took over Blue Note so it still doesn't explain his disdain for the deals he signed back in the day.

Which reminds me of the time I saw Jackie and asked him about his old Blue Note recordings and if he was still making money off of them. His rather bitter answer was that he never made any money off of them. He sounded pretty peeved and he wasn't joking. I was very surprised when I saw those latter day Blue Notes after talking to him about it. Of course, none of this explains that date he did with McCoy Tyner ("It's About Time") for Blue Note. Maybe they paid him enough to make it worth his while?

I have the Sal Salvador dates and they don't sound like fusion to me. I actually bought "Starfingers" twice. The first one I bought skipped a few seconds into the first track on side 1. The second one skipped in the exact same place (on two different turntables). I figured that it was a pressing defect so I looked at the second one under a microscope and found a piece of sludge molded into the groove. I picked that chunk of plastic out and now there's a pop but no skip.

What's the story on this recording? 1977 is still under copyright, even in the EU. Is it a bootleg or has Silver's estate given the OK for it?

Finally!! I've been trying to get Michael to do this for years and years. I've even asked Mark Sheldon to work on getting owner Jim Neumann to do this with Mosaic. I am very happy that this is coming to fruition. There's some great stuff in that catalog.

Andrew Hill - Dance With Death (Blue Note). This is another rainbow LP that just doesn't sound very good, which is why I think a lot of them sat in the can until Michael Cuscuna rescued them. Trumpeter Charles Tolliver sounds like he's playing in the other room. There's clearly something wrong with this recording and it's much more noticeable on the original LP. Edit: The more I listen to this, I have to wonder if RVG accidentally left a microphone shut off. Listen to the drum solo on the second track, "Partitions".

Jane Ira Bloom - Second Wind (Outline Records). Beat up record with the cover almost separated, but I've never seen it before, I like Bloom's playing and it was only $3, so I took a chance. So far, it's very nice.

He did attend the calibration at JALC for his 90th Birthday. That is great news! The last I heard, he wasn't even receiving visitors at his home so I was expecting the worst.

Wow, RVG made the big 90 yesterday! Happy belated birthday Mr. Van Gelder. Sadly, I hear he is not doing well and isn't receiving visitors. I just hope he is not in a lot of pain.

Cheers (*clink*) - a very nice record indeed! NP: Recorded in '61, w/ G.Green, T. Flanagan, P. Chambers, and Art Taylor This is one record where I find the CD sounds much better than the DMM LP. Great stuff too.

Ray was still playing the local clubs until his death. I just saw him a few months ago at the Sahara Jazz Club. He was one of the few Jazz musicians still making the rounds who played with Charlie Parker. Another piece of history has gone.

John Coltrane's "Dakar" has some nice bari playing from Pepper Adams and Cecil Payne. It's fun to listen and contrast the two distinctive playing styles.

I agree with you on that. I can definitely get more into the outer limits of Jazz in a live setting. But watching/listening to this video just doesn't work for me. Above, someone referred to Gustafssom's playing as a "bayonet charge". Um, I never, ever want to face a bayonet charge. I definitely would not enjoy that at all.

Have fun with this: http://jazzbarisax.com/baritone-saxophonists/ I listen to a lot of bari sax. Nick Brignola, Pepper Adams and Gary Smulyan make it onto my CD player often. Leo Parker's two Blue Notes are very nice. Ronnie Cuber, Serge Chaloff, Claire Daly, Lars Gullen, Cecil Payne, James Carter and Geryy Mulligan all get some air time too. But Mats Gustafsson? Nope. Not for me at all. Stuff like this just isn't very enjoyable for me:

for me the people (Tom and Mark) would be interesting beyond their roles as "suits". I was referring to someone asking for tomatbluenote. If Tom ever came here, he would certainly not use that moniker. But I doubt he would ever come here. He preferred classical music. He told me he enjoyed managing the Angel/EMI classical stuff more than he did the Jazz from Blue Note.

What's funny is that if someone reports them, their listings will be pulled. When you sell on eBay, you can't refuse to accept PayPal. eBay put this rule in place years ago, shortly after they bought Paypal.

Tom Evered hasn't been at Blue Note for a long time (2006). Mark might still be at Verve though.

Welcome, Simon! Thanks Bill. Sadly, I won't be transferring all the Tubby posts over here.....I just don't have time! Do a search... we have had a lot of Tubby Hayes talk here. He's one of my favorites.

You would have to have an extremely heavy platter to affect the start up. A heavier platter is known to improve speed accuracy because of the added inertia. Slight variations in speed won't translate directly to the platter if the inertia keeps it spinning constantly. That's why the expensive turntables typically have heavy platters.

Thanks for the suggestion, Kevin. I took a look at their page. Do you feel strongly that it's a superior platter? I saw a Pro-Ject acrylic platter but did not buy it. It was about $150 and it didn't seem to be worth the money. I bought one of these Tizo Acryl platters sight unseen. It is very hefty and well made. Personally, I like the look better but mine is an etched version that they don't make for the Debut Carbon. This is mine: http://www.acrylteller.com/ACRYLIC-PLATTER-Pro-Ject-Debut-black-polished-surface-finish Maybe it would work on the Debut Carbon?

No, he was 85. If you read his own posts on the page you linked to, he mentions that he was 72 in the year 2000. He also mentions going to shows in the early 1940's when he was a teenager. The newspapers got his age wrong. Either way, a nice guy who rabidly supported Jazz is gone.

José Domingos Raffaelli (his own name). That's very, very sad news. He was always such a nice and friendly person. I'll send his son a message. Thanks for sharing, Kevin. http://bjbear71.com/Raffaelli/jose.html R.I.P José. Thank you very much for your wonderful lessons. That's all I can say at this moment.... According to that web page, he was actually 85, not 77.

I have no idea which forum this belongs so Miscellaneous Music seems as good as any... My Facebook friend Pete Cherches learned that an old Internet friend of mine from the Jazz Corner forums, Jose Domingos Raffaelli, died in April in his hometown of Rio de Janeiro at the age of 77. I had a fairly long E-mail chat with Jose once. He was a very nice guy who knew more about Brazilian music than anyone I ever met. His obituary can be found here: http://oglobo.globo.com/cultura/morre-aos-77-anos-critico-jose-domingos-raffaelli-12311791#ixzz3GFhRwnXO but it's in Portuguese. A Google translation brings up this: RIO - died on Saturday at age 77, the music critic José Domingos Raffaelli, considered one of the most important names in Brazil in the analysis and dissemination of jazz. According to his son Flavio, music critic struggled against a tumor on my spine. He was buried on Sunday at 16h, in St. John the Baptist Cemetery, in Rio de Janeiro neighborhood of Botafogo. Instrumental music enthusiast, Raffaelli learned to value and point out new trends. According to the Brazilian Press Association, it was the first article on the bossa nova published in newspaper ("Last minute") in 1959. As a journalist specializing in jazz, appeared in GLOBE, from 1987 to 2002 also wrote for the "Jornal do Brazil" (1972-87) and "Time", from Belo Horizonte, between 2002 and 2003, as well as collaborating with several national publications and foreign magazines. Closely followed the Brazilian instrumental scene as drummer Pascoal Meirelles remembered on his Facebook page: "Our Raffaelli was one of the most important people to embrace the work of the performer, encouraging, positive weaving every critical work released, appearing in all concerts on his meager time allowed." Raffaelli also had a long career in radio, producing programs and debates. His dedication to jazz earned him awards as granted by the International Association of Jazz Educators (IAJE) in 1999 as the best critic of country music outside the United States, and another at San Martin Cultural Center, Buenos Aires, in 1989. In 1976, he won a competition of international scope of the American magazine "Down Beat", a leading publication dedicated to jazz.