Kevin Bresnahan

Snowbanks over my head. Ice dams one foot thick. I am sick of snow. I am sick of the cold. I'm getting too old for all this shoveling. I *am* too old for the roof-raking. I need to move somewhere warmer. Now my daughter just texted me that the town knocked down the snowbanks on the side of our street, burying the end of my driveway again. Ugh.

Best explanation I could find: http://www.sbnation.com/nfl/2015/2/2/7962403/super-bowl-2015-patriots-interception-seahawks-play-call

From what I've read, everything seems to point to the Patriots baiting the Seahawks into that throw. They left their jumbo package in after the Seahawks subbed an extra eligible receiver. Also, the Patriots practiced that exact play earlier in the week so Butler knew what should happen when they came to the line with that look. Supposedly, Butler was beat by the practice squad on it. I still can't believe that they threw that ball. And many seem to miss is the other great game winning play in the end. Getting the Seahawks to jump offsides when they had the Patriots pinned on the 1 yard line was huge. You go from a Brady dive to a Brady knee.

On top of that, the snow isn't supposed to stop until late tonight so anyone trying to get up there tonight would have to drive through a heavy snow storm. Also, I don't know if you've ever been up there before, it's really in the middle of nowhere so it's not like it's an exit off of a highway. It's those backstreets that have the most accidents.

That won't be an issue, but thanks for the warning. Scott handled it great. He stopped playing and addressed the guy directly, basically telling him that the university specifically asked if he could do something different. He followed that comment up by pulling out a theremin and soloing on it for about 10 minutes. My daughters were like, "Whaaaaaattttt???" BTW, I was able to buy 2 of Scott's old LPs at that show. He only brought one copy of each and when I saw them in the lobby, these two young girls had them in their hands saying, "Are these calenders?" Ha ha ha.

On the bright side, you do have a captive audience of college students up there. They are stuck up there on campus so maybe you'll get more of these students looking for something to do. BTW, the last show I saw up there, Scott Robinson, was great but he did get heckled a bit by someone in the audience because he played pretty far out on a few songs. I think the guy yelled something like, "Play some real Jazz" (and no, it wasn't me!).

As of today, the roads are horrible. Unfortunately, the forecasters are predicting another 3-6 inches by Saturday morning *and* they're predicting another storm for Monday morning. It's not looking good for me heading up there for Monday night as of right now.

We wound up with ~32 inches. We just finished digging out.

Really? Really. *I* have never heard anyone say that their 78 rpm discs sound great. Sure, I've heard people talk about the great music on their 78s but I've never heard anyone advocating for some sort of audiophile-level sounds coming from them like I do from the people who are buying these new 45 rpm LPs.

I've got about 2 feet but it's really tough to tell because it's so light and fluffy that the wind is blowing it into drifts. I guess 2 feet would be about average.

45 RPM Tracklist A1 Out Of Joe's Bag A2 I Should Care B Gettin' And Jettin' C Hank's Other Soul D1 Hello Young Lovers D2 Three Coins In A Fountain So you have two LP sides with songs that are only 7:43 & 8:42 minutes long? What a pain in the ass that must be. You should try 78s, only 3 mins per side. There are benefits of course , as there are for 45 rpm LP sets. I've read of the reported benefits of 45 rpm sides but not heard that benefit myself. I've never heard anyone say that their 78 rpm records sound great though.

45 RPM Tracklist A1 Out Of Joe's Bag A2 I Should Care B Gettin' And Jettin' C Hank's Other Soul D1 Hello Young Lovers D2 Three Coins In A Fountain So you have two LP sides with songs that are only 7:43 & 8:42 minutes long? What a pain in the ass that must be.

Doug Sertl - Uptown Express (Palo Alto Jazz). I saw Nick Brignola's name on the cover and I grabbed it. Unfortunately, the recording is wonky in places. Some of the soloists sound off mic, it has the dreaded bumblebee bass and the piano sounds like an upright model in the corner of a bar. The music is rather tame. Surprisingly with this killer band, Sertl holds his own fairly well, putting some of the better solos.

Wayne Shorter - Adam's Apple (Blue Note). A dark blue label Van Gelder UA pressing that looks worse than it plays, which doesn't happen often with these pressings.

I'd like to hear this one. It looks interesting.

What throws me off is that this newer "STEREO" pressing shows all the signs of being old itself. It has a deep groove. So if it's a later pressing, I'm thinking it's still late 50s or very early 60s. Now playing: Woody Shaw - Lotus Flower (Enja). For some reason, this record never really resonated with me and still doesn't to this day. It's very good but I just can't put it in the elite category. It may be the recording itself, which seems thinner than most or maybe it's that early 80s bass sound which is its usual anemic twang.

Coleman Hawkins - Accent On Tenor (Urania). Nice enough date but nothing I haven't heard from Hawk before. The cover is beat up and held together with yellow masking tape and the record has a few scratches but surprisingly doesn't play like it does. What do you want for $2? Edit: Weirdly, this 1955(?) record is listed as Stereo when it sounds to my ears like Mono. Is this (US 41201) a later reissue where they said it was stereo when in reality it was actually mono?

You are falling into a common misconception about CD error correction. It's an error correction algorithm that is applied to every bit that is read from the CD all the time. There is no strain on the error correction circuits because they aren't working harder, they're working the same as if the CD had no errors. The bits go through error checking circuitry and if a bit needs to flip, it's flipped. If it doesn't need to be flipped, it isn't. There is no additional circuitry needed to flip these bits.

I might be able to get up there for this show. The Monday night after the Super Bowl might be a bit tough though, especially if the Patriots make it there.

Cannonball Adderley - Somethin' Else (Music Matters 33 rpm). Wow. What a great sounding LP! This is beautiful.

Various Artists - Smoke Sessions Vol. 1 (Smoke Sessions). A limited edition LP from this new, excellent Jazz label.

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?