mjzee

I have it as part of the Dexter Prestige box.

There's a nice appreciation of him in, of all places, the opinion page of tomorrow's Wall St Journal (and Back To School is one of my favorite films): The world seems a little less amusing after Monday's death of filmmaker Harold Ramis. A famous face to moviegoers because he often shared the screen with great comedic actors, Ramis made his greatest contributions as a writer. He wrote or co-wrote the screenplays for a generation's worth of classic comedies. From "Animal House" to "Analyze This," from "Ghostbusters" to "Groundhog Day," Ramis kept Americans laughing from the late 1970s until his death Monday morning at age 69 of complications from vasculitis. For a decade or two after the 1980 release of "Caddyshack," which he co-wrote, it could seem almost impossible to communicate with young American males without a working knowledge of the film and its memorable lines. See Bill Murray's famous riff on caddying for the Dalai Lama nearby. Other hits included "Back to School," "Meatballs" and "Stripes." Ramis was rarely a winner at entertainment-awards shows. He simply succeeded at entertainment. Except for "Groundhog Day," his films rarely impressed critics, but they were celebrated by moviegoers. So perhaps it is strangely appropriate that he died the week before the movie industry prepares for its annual Oscar celebration of films that may or may not have much of an audience. If moviegoers had been able to vote, they would have handed Ramis a wall full of trophies. "Acting is all about big hair and funny props," he once said. "All the great actors knew it. Olivier knew it. Brando knew it." What we know is that the work of Harold Ramis is still making Americans laugh.

Little Feat, for me, was a story of unfulfilled promise. Lowell George started a great band, but I guess his drug use knocked the wind out of their sails. When Feets Don't Fail Me Now came out, I was shocked to see that without the live performance that ends the record, there was less than 30 minutes of new songs. When The Last Record Album came out, they admitted that Paul Barrere was taking a larger role with songwriting because George's output was dwindling. Unfortunately, (for me) Barrere wasn't anywhere near as interesting a songwriter as George.

In the link that Jazzbo posted, the author surmises that these will be remasters, and stated that the OAS had older masterings.

Has anyone heard this? Dexter Gordon Quartet Dexter Gordon (tenor saxophone) Hampton Hawes (piano) Bob Cranshaw (bass) Kenny Clarke (drums) Los Angeles, CA, summer 1973 Modal Mood Up Front UPF 188 Ernie's Tune - Smile - Soul Sister - Clear The Dex - * Up Front UPF 188 Dexter Gordon Quartet

The site was useful - I decided I don't look so bad compared to some of my peers.

A band that's owed its due. I followed them at the time, but lost interest with The Last Record Album.

Musician James Murphy thinks New York's "underground music" scene leaves a lot to be desired. He wants to change the underlying sound: the cacophony produced by the subway turnstiles. "They make this unpleasant beep and are all slightly out of tune from one another," said Mr. Murphy, 44 years old, over breakfast recently in the trendy Williamsburg neighborhood here. For the past 15 years, Mr. Murphy has been crafting what he says is a low-cost musical solution: He has worked out a unique set of notes for every station, one of which would sound each time a passenger swipes his or her MetroCard to catch a train. The busier a station becomes, the richer the harmonies would be. The same notes would also play in a set sequence when the subway arrives at that stop. Each of the city’s 468 subway stations would have note sets in different keys. More here: WSJ (Google the thread title if you can’t read the article.)

The two big unknowns for me are the Steeplechases: the studio albums and the live air checks from the '60's. I'll bet it's all prime Dexter. I have a few of them, and they're just great: Something Different (with Philip Catherine subbing for piano in the front line), Biting The Apple (Barry Harris, Sam Jones and Billy Higgins: 'nuff said, and better than the Columbias), Vols. 1 & 3 of Swiss Nights (alive, swinging, electric), and Billie's Bounce ("or Bouncing With B" sez Dex...'60's air check with Tete, NHOP, Alex Riel). Someone on Amazon posted that there are 14 volumes of Dex '60's air checks on Steeplechase. We should discuss them more. I miss Dex. That Amazon poster, named Marks, posted this on 6/27/13 for the album Satin Doll: When one looks over and listens to Gordon's vast discography, the realization starts to sink in that 1967 was a very strong year for LTD. He was 44 and at the height of his powers. All in all, there are now seven issued CDs of live performances from that summer of '67. Every one is splendid, and Satin Doll is no different. Its sound quality is passably good, and for that reason alone I have given the issue only four stars instead of five. But the jazz is exceptional. Highly recommended. For those who can't get enough and, like me, want more of Gordon from 1967, the CDs currently available on the market are: Satin Doll (Steeplechase,06.29.67) The Squirrel (Blue Note, 06.29.67) Body and Soul (Black Lion, 07.20.67) Both Sides of Midnight (Black Lion, July 20 and 21, 1967) Take the 'A' Train (Black Lion, 07.21.67) Live at the Jazzhus Montmartre (DA Music, July 20 and 21, 1967) and Jazz at Highschool (Storyville 08.05.1967) The first six were all recorded at Montmartre. All seven include Drew on piano. The quartet on the last five CDs is Gordon, Drew, Nils-Henning Orsted Pedersen (b), and Al Heath (dr). The last six titles I would rate as five stars and give my highest recommendation. The Black Lion titles are among the best live Gordon recordings on the market.

Also also, where do you connect your subwoofer?

Thanks! This gives me directions to pursue further. Also, which audiophile magazines or websites do you trust?

You won't regret it; great album. Some of my favorite Jackie McLean.

Here's where I ordered mine. http://www.cdjapan.co.jp/detailview.html?KEY=WPCR-27101 http://www.cdjapan.co.jp/detailview.html?KEY=WPCR-27201 Thanks. I saw both of these, but couldn't tell that the MFT was mono. I also noticed there was a subsequently issued MFT that's now out of print: http://www.cdjapan.co.jp/detailview.html?KEY=WPCR-25104

Could someone provide links to a store that has the two Coltrane mono titles?

Could you list the components of your system?

Trying to picture Sonny with a pompadour.

Different strokes. I call it hair-shirt music. It's more interesting for a ringside seat to watching a once-popular artist self destruct. The mysteries. YM probably will V.

Great news.

Ditto. Give me the trio with Jim Hall any day.

Grab the Atlantic R&B box, if you can. Great stuff!

Much thanks. Nice to see H-town getting it's due.

He did indeed, the Yardbirds Golden Eggs (I & II) come to mind, as well as a couple os Rolling Stones Titles - Bright Lights, Big City and a '72 tour album whose name is escaping me at the moment. I also really liked this one:

I enjoy his work with tenor saxophonist Bennie Wallace on The Free Will and Self Titled release on AudioQuest. Flanagan also backs Jim Hall and Art Farmer on most of Hall's "Commitment" (1976). Too bad that trio couldn't play with bass and drums as a working group; would have been fantastic. On this album, Ron Carter's the bassist, and the drums is the relatively unknown (at least to me) Allan Ganley. (For the record, there are also duets with other musicians here.)

William Stout! He did some great work.