mjzee

Michael Cuscana! I wasn't aware of this BN typo.

You should check it out. Excellent music, full of polish and fire.

https://www.dailymail.co.uk/femail/article-9393159/Music-executive-friend-Bob-Dylan-Sally-Grossman-dies-aged-81.html?fbclid=IwAR0_6N2qsVqgT-0BYJe3wjPR6zeWcHXIoLOquXUebR4wtaxKhGnDWapU4eg Friend of Bob Dylan, Sally Grossman, who appeared on his album cover and was at the center of enduring rock mystery over singer's motorbike crash, dies aged 81 Music executive Sally Grossman, a close friend of Bob Dylan, died aged 81 She was the wife of Dylan's manager and folk music kingpin Albert Grossman Sally appears on the cover of Dylan's 1965 album Bringing It All Back Home She was there the day Dylan had his mysterious 1966 motorbike crash

Watch this URL for further details: https://www.amazon.com/Westward-Bound-Harold-Land/dp/B08X5GPPV7/ref=sr_1_4?dchild=1&keywords=harold+land&qid=1616629875&s=music&sr=1-4

Sounds like it was the fault of the pressing plant, not of SteepleChase.

https://store.dead.net/grateful-dead-skull-roses-50th-anniversary-expanded-edition-2cd.html?eml=2021March24/5284336/6131962&etsubid=25405212 Just announced: GRATEFUL DEAD (SKULL & ROSES) 50TH ANNIVERSARY EXPANDED EDITION 2CD DEAD FREAKS, old and new, get ready to reunite on June 25th with the release of GRATEFUL DEAD (SKULL & ROSES): EXPANDED EDITION. In celebration of the 50th anniversary, the 2CD set will feature the album’s original 11 tracks, newly remastered from the stereo analog master tapes by Grammy® Award winning engineer David Glasser using Plangent Process Speed Correction. We're topping it off with more than an hour of previously unreleased live recordings taken from the much-requested July 2, 1971 performance at the Fillmore West, the band’s final performance at the historic San Francisco venue. Standouts include the 17-minute Pigpen spectacular “Good Lovin’,” an achingly beautiful take on Merle Haggard’s “Sing Me Back Home,” and a spell-binding version of “The Other One” that rivals the one captured on the original Side 2.

I love how the cover looks like a Muse release.

Release date June 18: Understanding is a previously unreleased recording of drummer Roy Brooks captured live by the Left Bank Jazz Society at The Famous Ballroom in Baltimore, MD on November 1, 1970. Featuring a stellar band with trumpeter Woody Shaw, saxophonist Carlos Garnett, pianist Harold Mabern and bassist Cecil McBee, Understanding was recorded 5 months after the classic live album The Free Slave (also recorded by the Left Bank Jazz Society). This recording features a full performance by great musicians at their peak, providing a you are there experience of the excitement of great music and an appreciative crowd. Mastered from the original tape reels by Kevin Gray, the limited-edition 180-gram 3LP set includes an extensive booklet with rare photos, plus interviews with Carlos Garnett and Cecil McBee. Award winning arts journalist and critic Mark Stryker contributes the main essay as well as remembrances by American journalist, educator, author, activist and friend of Roy Brooks, Herb Boyd, alto saxophone legend Charles McPherson who grew up with Roy Brooks, Louis Hayes who got Roy the gig with Horace Silver and more. This project came about as a desire by Reel to Real Recordings to make a positive contribution to Black Lives Matter. Understanding is our celebration of the talent, courage and spirit of the Black musicians who created a timeless and universal art, with the recognition that the injustices of 50 years ago are still with us. All proceeds from album sales will go directly to The Detroit Sound Conservancy. Understanding is produced with the cooperation of Cecil McBee and Carlos Garnett and the estates of Roy Brooks, Harold Mabern and Woody Shaw.

This would be a good supplement to what you have: A 4-CD set from Proper. You'd get early recordings from 1942 and 1943, stuff from L.A. in 1945 and 1946, the "One Night In Birdland" material, Carnegie Hall in 1949 with Red Rodney, Birdland with Dizzy from 1951, and some Rockland Palace material.

SQ is very good. The only issue is that Columbia squeezed 8 tracks to a side. Columbia did that as well as, if not better than, anyone else, but the volume is low as a result. Just turn it up, no biggie. This twofer was U.S. Columbia CG 31617. I got it not too long ago from Dusty Groove for a good price. If you're shopping, be aware that there is a different Chiaroscuro date with the same title. I've often wondered whether the Weather Report albums released on ARC/Columbia had anything to do with the earlier ARC:

I'm happy with this:

They still have a website: https://philologyjazz.wordpress.com/about/ and a Facebook page: https://www.facebook.com/philologyjazz The last post on the Facebook page was in 2012.

The picture looks like Mann was taking a selfie of the group.

That might be Hubert Laws. Interestingly, per Wikipedia, the Sharrocks do not appear on this album. Musicians are: Roy Ayers - vibraphone Charles Tolliver - trumpet, flugelhorn Hubert Laws - flute, piccolo Gary Bartz - alto saxophone Herbie Hancock - piano Ron Carter (tracks 1 & 2), Miroslav Vitouš (tracks 3-6) - bass Grady Tate - drums Herbie Mann - producer Could the person next to Ayers be Tolliver? The person on the lower right might be Bruno Carr:

I haven't seen many Savant/High Note releases lately, so this is welcome news. Release date March 26: As with many professions, it was a difficult thing to be a jazz musician during the pandemic year of 2020, but alto saxophonist Jim Snidero found himself in a unique situation: he was able to assemble a quartet for a feasible, safe, limited-audience gig at Pennsylvania's famed Deer Head Inn. Snidero and his colleagues relished the chance to commune with listeners, and one another, on the bandstand again at long last. Live at the Deer Head Inn is the result, and as Snidero remarks in the liner notes, "It just felt like the perfect opportunity to cut through the fog of this damn pandemic and mark this moment in time." The energy and excitement are palpable on this, as Snidero rallies his players and the audience in an exuberant set of what he calls "comfort music," beginning with a trenchant take on Charlie Parker's "Now's the Time" (with Bird's daughter, Kim Parker, in attendance to hear it). The depth of swing and interplay is evident in every measure, and Snidero's sound and phrasing reveal a disposition of his own, guided by a unique melodic and harmonic concept - qualities that have earned him recognition in the Downbeat and JazzTimes Critics Polls.

Fascinating; I'll play with it. Thanks for the tip.

How does one narrow the stereo width using Audacity (what are the settings or the workflow)? I'm assuming this is different than making it mono.

Just had my second Pfizer shot. Sitting now in the recovery room.

RIP. His Connoisseurs were revelatory - as good as the albums that were originally released. A sharp musical mind. He will be missed.

Release date March 19: Previously unreleased solo recording from American jazz piano great Tommy Flanagan, from October 9th, 1994 at the Birdland Jazz Club in Neuburg on the Danube in Germany, playing on a Bösendorfer Grand Piano. This is the story of a concert, which almost didn't happen. A story of a culture shock that struck somewhere between an American metropolis and a Bavarian small town. A story of a strong woman, who wants to shelter her husband at any price. And a story of a very special recording, which slumbered in the archives for over 26 years and would now see the light of day for the first time. Now that the legendary solo recording has been released the happy end is perfect. A quiet, deliberate, wonderful final point closes the incredible career of Thomas Lee Flanagan, who everybody called Tommy, and who passed away on November 16th, 2001.

Ethel Waters:

Per the image below, Club Carousel was hosting a band consisting of Mary Harris, Rochelle Carter, Bonnie Russel, Ruth Lebrun and Lois Walsh. I know nothing about them, though. The book also mentions Ella Fitzgerald. This site mentions Dorothy Donegan: https://www.classicchicagomagazine.com/21-club-and-52nd-street/ How about Chippie Hill? Lee Wiley, Frances Faye? Yes to Ella:

When I attended college in the mid-70's, our radio station was true free-form: whatever you wanted to play. Jocks were allotted slots based on defined categories (rock, jazz, classical, soul, oldies), but you could really play whatever you wanted. There were no playlists, no preferred songs, no limitations on track time...really, our only restriction was no obscenities, per the FCC requirement. It was a wonderful time for music, and we regularly mixed genres, eras, themes. I still make "mix tapes," only now they're CD-Rs. I swap a mix once a month with a good friend of mine. It's a great creative outlet for me. My most recent disc included Gerry Mulligan, John Scofield, Larry Young, Sun Ra, B.B. King, Count Basie with Billie Holiday, Jimmy Smith, Ry Cooder, Casey Bill Weldon, T-Bone Burnett, Marvin Gaye & Tammi Terrell, Chicago, Captain Beefheart, Iggy Pop, Ramones, Hot Tuna, Deep Purple, Bob Marley, and The Wailing Souls.

Pretty horse.

A Lou Donaldson set? News to me.