mjzee

I just compared the box version to the original CD of Dippin'. On the original, it sounds like there's one bass note before the piano; on the box, it sounds like two of the same bass note before the piano, but it doesn't sound unnatural - it sounds like the bassist played two notes (as if the original cut off the first one). Will be curious to hear what others think.

Where is The Magnificent Goldberg now that we need him?

I just checked and didn't hear anything. At what point in the track (minute/second #) do you hear it?

A note to all: if you're having trouble syncing your old iPod to a Mac, try rebooting your iPod and then try syncing again.

This is why I'm not interested in the Monk Palo Alto.

Unfortunately, very similar to news from Florida from a few weeks ago: https://www.cbsnews.com/news/brain-eating-amoeba-naegleria-fowleri-florida-teen-dies-family-says/ At least it takes our minds off COVID!

The Soul & Jazz Revue album looks interesting because of Pretty Purdie.

I'd bet one contributory factor (maybe the main impetus) is that all the A&M Horizon material is on disc 7. It looks like Mosaic used A&M's CD master, maybe to save money, maybe on Universal's insistence (note that that disc appears in its own clamshell...maybe Universal pressed and supplied the disc separately). Since the material could no longer be presented chronologically (other tracks from October 27-29 appear on discs 3 and 4), Mosaic let Thompson arrange the set order for each disc. I'm listening now to disc 6; he did a great job.

Two tracks Ira did with Blakey were released on this LP: https://en.wikipedia.org/wiki/Originally

Lovely people.

https://www.tabletmag.com/sections/arts-letters/articles/stanley-crouch-appreciation

It was announced just the day before that Pigpen had died. There was a show the night before, and rumor was it was "off" - very low energy. The show I saw was great. We wondered whether they'd do "He's Gone" - they didn't, and didn't say a word about him. I remember waiting outside the Nassau Coliseum for hours waiting to be let in. It was St. Patrick's Day, and someone passed out green-colored bagels. The Coliseum's doors were glass, and the crowd was pressing hard against the doors to be let in; those doors took a lot of punishment, and I thought the glass might break (they didn't). I remember how long they took between songs to tune. I remember a very upbeat "They Love Each Other," and was surprised by the slower version on Garcia's "Reflections" album.

I saw them the week before: Nassau Coliseum, 3/16/73. It was my first Dead show. Available on archive.org.

Would've loved to hear that. It's a problem with their subscription business model: they want you to pay a year in advance, and you don't know what they plan to release. For every 1/2 & 1/3/70, it seems we get far more 9/2/83 (to give just one example).

I'm pretty well set on Dead shows. Not sure what else I'd need. I'd like to hear more shows from the second half of 1969, if tapes exist.

RIP. Had an interesting, creative mind; he'll be missed.

Could be Kenny Clarke. Osie Johnson? Roy Haynes?

Tommy, can you get this title? You were out last time: 31090 Dexter Gordon Swiss Nights, Vol. 2

In general: No credit given to the original license holder (something like: Produced under license from Sony). No backstory on how this label acquired these tapes. No one taking production/reissue credit. No reissue engineer noted. No interview with anyone still alive who participated in the original sessions (i.e., Sonny). To contrast, from Mosaic's recently released Paul Desmond box: Produced for release by Don Thompson, Chad Irschich and Michael Cuscuna Original sessions produced and recorded by Don Thompson Executive producer: John Snyder Disc 1 – 6 remixed by Chad Irschich, Inception Sound, Toronto in 2019 from the original analog 4-track tapes Disc 7 remixed by Gary Gray, Manta Studio, Toronto in 1975 from the original analog 4-track tapes. Mastered by Chad Irschich Special thanks to Noel Silverman, John Snyder, and Barry Hatcher without whom this release would not have been possible. Design Production: InkWell, Inc. ©2019 Mosaic Records, LLC. Printed in the U.S.A. Tracks 1-3 and 5-7 on disc two (p) 1992 Telarc International Corp and appear by arrangement with Concord Music. Discs 1, 3, 4, 5, 6 and track 4 on disc 2 are (p) 2019 Estate Of Paul Desmond (dba Desmond Music Company). Disc 7: A Verve Label Group release ?1976 UMG Recordings, Inc. ©2019 Mosaic Records, LLC. Manufactured by Universal Music Enterprises, a Division of UMG Recordings, Inc. B0031354-02 But I wouldn't sweat it. I've made my peace with releases such as these. Bootlegs have been around since the dawn of the record industry. It's not up to us to parse how legit a particular release is. If Sonny (or Sony) ever releases a legit version, buy it with pleasure, especially now that you know how good is the music. Just my point of view.

I used to have this:

Did you read the article?

I certainly understand the impulse to censor. I can no longer listen to Pink Floyd because of Roger Waters's anti-semitic ravings, and have difficulty listening to Elvis Costello because of his anti-Israel, pro-BDS stance. I respect Van Morrison for his point of view. The science is nowhere near as settled as the near-monolithic views here might imply. Consideration must also be paid to all the people (musicians included) who are losing their livelihoods and careers because of broad lockdowns, and somehow a balance must be struck that includes all divergent needs. Van is 75 years old and therefore part of the most vulnerable demographic; if he insists strongly on this, perhaps it's not based in "paranoia" or a "conspiratorial mindset" - maybe people can disagree on how to interpret the science and the best paths for moving forward. https://nypost.com/2020/09/18/by-the-numbers-its-hard-to-see-how-lockdowns-saved-many-lives/

He's now gained my respect. Speaking truth to power and all that.

Release date October 30: In 1978, Dexter Gordon signed with Columbia, which boosted his career and allowed him to form and groom his own working band for the first time in his life. The wonderful quartet included George Cables on piano, Rufus Reid on bass, and Eddie Gladden on drums and was at its peak, as this November 8, 1978 concert at the Chƒteauvallon Jazz Festival bears out. Dexter is in a joyous and fiery mood, peppering his solos with outrageous quotes from other songs and stretching out.

Release date October 16: This CD is the second part of a series we hope to be issuing featuring the great Count Basie and his Orchestra performing 'live' at Birdland, it features three separate performances: January 6, 1953, January 7. 1953 and January 8, 1953 and beside the usual all star line-up includes guest Lester Young featured on Jumping At The Woodside, Every Tub and Pres.