jazzbo

I hope all is well also.

Me too!

I'm looking forward to the Eddie Condon as well, because it's a great lp and it will have extra material!

Hmmm. . .I like this set but as far as Mosaic vocal sets go. . . I like the Bailey and the Lee/Christy better.

That's just my opinion of course.

Ros, I have all the Richards lps but one I think, so the stuff is there and been able to be listened to for years. I just don't dig it as much as you seem to. Ah well!

I've been enjoyiing the set since #91 hit my door a week ago or so. It's not essential, it's commercial swing music more than anything like serious jazz, it has charm and it is very well recorded and remastered. (Malcolm Addey doing his usual excellent job, though in this and many of his Mosaic works, we should also be thanking and lauding the TRANSFER engineers). I have had the tracks with T-Bone Walker a looooonnnnngggg time, and the Ella Mae Morse selections for some time (I really dig the Bear Family set, and the material here sounds better here!) So I knew I would dig this. The new Select I have resisted so far is the Johnny Richards; I have a lot of the material and don't play it much, it doesn't really send me.

NO. . . I don't have cable so I can't see it. . . is it as bad as I think it might be and as some of the reviews say it is? Or is it fascinating?

From what I know of horn speakers, it's more than just these being "big" for dumb people. These should give incredible presence and dynamics, and are extremely efficient allowing one to use very low powered amplifiers, which in my experience can give the very best of sound. I'd love to have this set up. . . maybe as a second system. . . -_-

I still think it's motivated by what sells, and these divas want to be front and center popular and you have to sell like crazy to keep that up. Producers can be 'suasive, specially if he can predict a continuation of an overthetop lifestyle. So I agree with you too that the artist buys into the diva thing and their specialness. . . partly too that could be under the producer/label influence. But bottom line is (as I see it) they could be so much better, these records. But they won't be.

I doubt it. Some people have a lot of money. I bet that system sounds incredible!

Hmmm. . . maybe . . . and maybe it's the will of the producer? It SELLS. Unfortunately.

Sorry to hear this. Way too young!

Hey, she did do Russ Freeman's "The Wind" on her fist lp, Mariah did! BUT that ain't going to sell her millions and millions of records like the legs and gospel-derived vocal pyrotechnics will!

It's KILLER.

Except you're missing out on one stereo session I believe. . .

I'm so glad of the great customer service, that your amp is back healthy as it can be, and that the falsely accused preamp is now. . .glowing happily.

I have a Yamaha digital piano that I bought for about 1100 bucks that has the best piano sound (and action) I've ever experienced outside of a real piano. It has an electric piano sound that is pretty good too: you can switch between the Ray Charles Wurly sound and a sort of clean Rhodes sound. Can't do an awful lot of altering to the sound in the machine itself, but you could patch it out to another effects unit. Very happy with this machine for over a year now. . . takes care of my piano fix.

And you can get a good number of minutes on 16" discs as well. Also, as evidenced from the Town Hall recording equipment for example, dual disc cutters were around that would ensure that no minute of a performance was missed. . . theoretically I guess if you kept feeding those discs to the cutter head you could have quite a long continuous performance. Of course you would be limited to what you could release to the public in "one piece" at the time.

Now how did I forget that Manfred Mann version? (Just lucky I guess!)

THANKS for the headsup!

Okay, but maybe "THEY" might include others. . . I can't tell from here. Here's hoping Jerry chose a good remastering engineer.

Maybe they'll use the same engineer as Water uses, Gary Hobish of San Francisco. Gary does excellent work.

Dead tune. . . or Dylan tune? (Dead did dis, but Dylan done done it first! I think?)

I don't bellieve the director is into Scientology, but as an article that 7/4 linked to earlier in the thread indicates, Hubbard may well have been influenced (wittingly/unwittingly?) by Wells and the War of the Worlds itself in concocting his "methodology."