mjzee

I have an mp3 copy of the 3-CD set, and that's more than enough for me. Morgan's shift to long-form modal franticness didn't excite me. In terms of "what might have been," I'm more intrigued by Morgan's forays into keyboard-based soul jazz in his last years, backing Lonnie Smith, Reuben Wilson, Harold Mabern, and Charles Earland. I wish he could have developed that further.

In 2012, I compared the timings of the various reissues of the Roost material: http://www.organissimo.org/forum/index.php?/topic/72210-bud-powell-early-recordings-as-a-leader/&do=findComment&comment=1244797 Specifically, the correct timings are charted here (the "Roulette" column is the earlier edition with incorrect pitch): http://www.organissimo.org/forum/uploads/monthly_12_2012/post-850-0-90230300-1355239762.jpg This entire thread is worth reading: http://www.organissimo.org/forum/index.php?/topic/55968-early-bud-powell/&page=1

Great pianist. RIP.

So what's next for Mosaic? There was talk of a Lee Morgan box, but there is nothing listed on their website under "Upcoming Releases." Ricky Riccardi says he's working on a Satchmo box, but, as I said, no mention on Mosaic's site. And what else? Perhaps the answer is simply: nothing. I mean, they're either keeping Mosaic as a going concern, or are wrapping things up. Certainly maintaining a warehouse costs money, and if they're not selling boxes, where's the money coming from? Respectfully submitted.

Thanks.

How's the picture quality?

Have a happy boppy Budo birthday, Mr. Harris!

Happy birthday, Jim.

I used to own the six volumes of Spotlite's Charlie Parker On Dial. Volume 1 had Diggin' Diz, which it says was recorded on February 5, 1946 (Discogs has an image of the back cover). The liner notes state: "The Charlie Parker/Dial association started in January 1946 while Dizzy Gillespie and Bird were playing an engagement at Billy Berg's club with the sextet they had brought over to the coast comprising Bird, Dizzy, Milt Jackson, Al Haig, Ray Brown and Stan Levey. The group never recorded as such and only two broadcasts are known to exist, namely DIZZY ATMOSPHERE (issued on Klacto MO 102) and SALT PEANUTS. The first recording session for the newly launched Dial label was scheduled to take place on Tuesday, January 22, 1946 at Electro Broadcast Studios with the impressive line-up of Parker, Gillespie, Lester Young, Milt Jackson, Ray Brown, Stan Levey and George Handy. Handy, arranger for the Boyd Raeburn orchestra, was contractor and leader as well as the pianist. The Monday before the session, George Handy visited the Tempo Music Shop, which served as headquarters for Dial, and suggested to Ross Russell a week's postponement, Lester Young had gone to San Diego for a gig. The choice of Tuesday was the key to the situation because that was the night off at Berg's where five of the musicians were engaged. The following Tuesday found itself in conflict with a Norman Granz concert on which Parker was to appear and so it was agreed to re-schedule Dial session number one for the week following. So it was that on Tuesday, February 5, following the final night for the Gillespie outfit at Berg's, that Handy assembled all the musicians as he had contracted to do except for Prez, who was again missing and was replaced by Lucky Thompson and Milt Jackson, also missing, was replaced by guitarist Arvin Garrison. "Towing a task force of hipsters, hip chicks and hangers-on behind them this group drove to Glendale in a caravan of autos and took over the studio like an invading army. The crowd inundated the grounds, buildings and the recording studio itself and possibly for the first time the smoking of pot and the practice of free love in public places was introduced to the city of Glendale. Amongst the chaos that prevailed DIGGIN' DIZ, an original by Handy based on the chords of LOVER was all that was recorded. The rehearsal over the musicians were instructed to be on hand promptly at 9 p.m. on Thursday, February 7 for the real thing. Things did not turn out as expected. Handy had stayed up the entire night with Bird, who had given him the slip. Prez again could not be found, and due to lack of sleep and nervous exhaustion Handy announced that he had decided to abandon the whole project. Consequently the session for which the rehearsal had been held never took place and Dizzy took the Berg group, with Lucky Thompson substituting for Bird along to the studios instead." It's also worth noting the Producer's Note included in the booklet for Mosaic's The Complete Dial Modern Jazz Sessions: "Ross Russell had an infuriating habit of using the same 78 issue number for different selections, which is why a given number may have more than two tunes as first issue. He also changed tune titles when issuing selections originally issued on 78 on 10” LPs."

Workout wasn't included in the Mosaic box.

Depends on the features - anywhere from $100 - $250. I already have an Oppo, so I don’t need another that good.

Hi, all. I'm now looking for a good Blu-Ray DVD player (to connect to TV via HDMI). Can anyone share recommendations? TIA.

Agreed. Given BN's intense focus on LPs these days, they could fashion some new vinyl with cool covers encompassing these tracks.

When I was a kid, I would sometimes play an LP at 45, or a 45 at 33, just to hear what it would sound like. It was fun.

When I get it, I'll be curious if I notice the speed issues. Not being a musician or having had music training, I can only listen to internal logic and feeling, and these tapes fooled some pretty well-trained ears on their way to becoming physical product. I recently revisited a great essay by Ricky Riccardi about speed issues on Louis Armstrong's Hot Fives and Sevens reissues (it can be found here). While I can hear the differences between the various samples, what I can't say is whether any one of them is "wrong" or "right." I especially liked his discussion on Cornet Chop Suey.

I was at one of those Billy Higgins shows! I remember Billy introducing the band members by saying what subway stop in Brooklyn they lived near. Hmmm...except I couldn't have been there January 19-24, 1999. Did they come back later in the spring?

That was good. Thanks for posting.

Did Hunter and Garcia have a falling out?

Happy birthday!

Happy birthday!

Still waiting for mine...was supposed to come yesterday. Regarding the Loosdrecht speed issue, how much should we correct the speed so that it plays accurately? In Amadeus Pro software, the choices are to adjust pitch (where you enter a number, such as 0.73, with the instruction "Semitones: 1 octave = 12 semitones (tempered scale)") or to adjust speed (where you enter a percentage, such as 104.31%).

Howard Wales, pianist who played with the Grateful Dead, dies at 77

Thanks for posting that. The comments are worth reading, like this one from Giacomo Gates: Time Out was the first LP I purchased, at the age of 10 years old, 1960. I was already taking guitar lessons...altho my ears weren't ready for all the different time signatures. Fast forward to 1992, I write lyrics to Paul Desmond's solo, in the tradition of vocalese, and mail them to Dave Brubeck. To my surprise and excitement, I receive a letter back from him, saying that he liked my lyrics, suggesting that I reach out to Desmond's publishing company, and use his letter for recommendation. I thank him and do so. The publishing company likes the lyric and tells me to reach out to the attorney that handles that specific tune. I do so, and after several pfone calls, I reach him and am told that "Take Five was recorded vocally twice by Carmen McRae and Al Jarreau and I think that's enough." My first release on DMP Records, 'Blue Skies' was produced by Helen Keane, in 1995. We spoke about the selections that would be on the recording, one of them was "Take Five," of which I wrote lyrics to Paul Desmond's solo. I told her the situation with the attorney, and she told me she would call and speak with him. She got the same response..."It was recorded twice vocally, once by Carmen McRae and Al Jarreau, and I think that's enough." Her response, "But this is a lyric to Desmond's solo, this is a tribute to your client." He says, "I don't know if I like the lyric." She responds, "What do you know about lyrics, you're an attorney." He hung up.

This is a good analysis, courtesy of WSJ: In selling his copyrights, Mr. Dylan creates more tax certainty and potential benefits for himself and his heirs. He likely will pay a one-time capital-gains tax of 23.8% in addition to state taxes, as opposed to paying 37% plus state tax on the annual income his catalog generates. Doing the sale now means he pays the capital-gains tax in accordance with today’s rates and rules rather than facing the potential higher rates and tighter restrictions that Democrats have proposed on both capital gains and ordinary income. For his estate, he can plan tax strategies on his remaining assets without his heirs and the government engaging in a lengthy fight over the value of the copyrighted assets after his death. And, of course, "he was never known to make a foolish move."