mjzee

I'd be willing to create a Blindfold Test.

I vote to continue. I've only participated in one, and here are my impressions: I agree with a time limit (45 - 60 minutes). It seems the current goal is to present obscure cuts to see if the listener can identify the musicians, who can also be very obscure. Maybe many enjoy this sort of exercise; I kept saying to myself "I don't know this one...no idea...I have nothing to say here." It's not a lot of fun to be shown up by people who can identify them and put them in historic context. My response is: what am I doing here? But also, is the focus on the music or the obscurity? This is dovetailing with my project this year, which is to not buy music but to get in touch with the collection I already own - relistening rather than listening. So if it's just a game of "identify this obscure musician," then it's not that much fun to me. But if we could share more identifiable music, with the goal of discussing what the music means to us, then that might be much more enjoyable.

I'm in the middle of reading the article (in hard copy; I read little bits at a time while I'm in the john). To me, this piece explifies (thanks, Jim!) most that's wrong with jazz these days: the lauding of the Ivy League as a measure of quality, no mention of the music actually connecting with an audience, the outsized importance of racial/gender/cultural factors as being more important than the music itself, and, really, the creation of a body of music that can be studied, analyzed, taught, and tenured with no thought of it being enjoyed. It's as if the music should be available in academic journals rather than in iTunes. Give me Ben Webster any day, even though he wasn't an Ivy League professor.

But if you lose interest in running the board (much as Blue Note did back in the day)...?

Yup, it's been a great run so far. But if I can hit a cautionary note: what if all the info on this board were to disappear? It's too bad it can't all be archived in some fashion.

Bob Dylan has sold his personal archive of notes, draft lyrics, poems, artwork and photographs to the University of Tulsa, where they will be made available to scholars and curated for public exhibitions, the Oklahoma school said on Wednesday. The 6,000-item collection spans nearly the entire length of Dylan’s 55-year career, and many have never been seen before. The collection was acquired by the George Kaiser Foundation and the University of Tulsa. The collection also includes master recording tapes of Dylan’s entire music catalog, along with hundreds of hours of film video. Full story here: http://nypost.com/2016/03/02/bob-dylan-sells-his-personal-archive-of-lyrics-art-and-recordings-for-millions/

Yes, happy birthday Ralph.

Good sleuthing, Jim. I've never even seen this LP. Was it part of a series? I know Verve released a Stan Getz/Bill Evans session with a similar cover.

"Cheryl" is what begins at 4:08. OP wanted to know about the theme played 3:41 to 4:08. It isn't "Cheryl."

Wishing you all the best going forward.

We had a thread about it at the time. I found no definitive answer; this is as close as it comes: http://www.organissimo.org/forum/index.php?/topic/1087-revenant-is-planning-big-albert-ayler-box/&do=findComment&comment=1001631

I think it was that ESP and the Ayler estate ganged up on Revenant, putting them out of business. Fahey must have turned over in his grave.

I wonder what's Wolfgang's plan.

Could James Harrod add something to the discussion?

And don't forget the live Joy Spring session - pretty hot!

From Silsbee's notes: Re "Mood Indigo" (from 2/4/63): "After Fischer moves his solo into waltz time, Pass brings the tune into blues territory." Re "The Night Has A Thousand Eyes" (from "probably February 1963"): "Fisher seems to decline the solo space offered to him on TNHATE so Pass burns brightly without being flashy." Also, after the "Album Index" section in the booklet, it says "Special thanks to Les McCann, Clare Fischer, John Pisano, Russ Wapensky and the Institute of Jazz Studies."

I have the Pass Mosaic. Here are the sessions with Clare Fischer: 1/30/63, 2/4/63, "probably February 1963," 7/18/63, 7/29/63 - all resulting in PJ ST-73, "Catch Me." I saw no mention in Kirk Silsbee's notes of Fischer not playing on several sessions he is credited for.

According to the book that accompanies "The Rubinstein Collection" box, disc 134 (Unreleased Recordings - Part I) has a playing time of 82:58.

Great stuff.

When I tried it, the tracks began playing right away.

I like the interface a lot. Very sophisticated, yet easy to use.

Neat effect; thanks!

It's about 11" x 16 1/2". It will accommodate an 8 1/2" x 14" sheet of paper (or one of your A4's); one sad limitation is it will not accommodate an LP cover. But for the other things I use it for (CD covers, K7's, and, of course, to use it as a copier), it's a great solution.

I'm listening now to Dexter Gordon's American Classic. The back cover has a picture of Dex looking at the Statue of Liberty. It appears to have been taken on site (probably at a park on the Jersey side). Yet, even though taken outdoors, the picture seems to show a shadow (caused by the camera's flash) on Dex's right side. It's as if he was photographed in front of a wall, but he appears to be in the open air. Any idea how this effect was achieved?

September 18, 1974, Dijon, France: Special mention must be made of the Playing In The Band that ends the first set. Very unusual, not like any other PITB I've heard. Very trippy; sounds like a late-second-set performance in the first set. This bodes well for the second set. Next: Seastones.