mjzee

You are correct, no Dark Stars in the May '77 box.

Hey, Jim, it looks like you live near Ruth Buzzi. Twitter

If you don't spend a lot of time at the Museum of Modern Art, you might not notice that the comfortable padded seating outside the third-floor restrooms is missing. In its place, a familiar yet displaced sight: a 10-foot wooden subway bench. And when you sit down, the timber hums in a way that can be felt rather than heard. That buzz comes courtesy of strategically placed transducers installed by the New York-based sound artist Sergei Tcherepnin. The piece, "Motor-Matter Bench," is part of "Soundings: A Contemporary Score," a group exhibition opening Saturday that is the museum's first dedicated to aural art. More here: WSJ

Jeez. Read the threads you want to read, ignore the rest. I like Aloc's posts. Too many cover threads? Ignore. Better yet, discuss your own listening experiences: discs you love, discs you recently encountered, thoughts on old favorites. This site is what you make of it. There's not much happening in jazz these days (time was not so long ago that a Pablo reissue program would be mocked rather than appreciated), so good vibes are important during this dry spell.

There were (on vinyl) two Montreux '77 boxes; each was 8 discs: Count me among those heartened that Concord is continuing a reissue program.

Very sad. At the Zappa shows, it was always very cool to hear the crowd erupt when he was introduced; he was the "star" of the band (outside Zappa, of course). At the end of the '70's, he did those jazz/disco albums, but he had that goofy sense of humor: RIP for all the good times.

There are also CDs that are mastered too softly. Two that I can think of are Lee Konitz's Round & Round and Kevin Eubanks's Live At Bradley's. I had to use Amadeus to make them louder.

Heck . . I still have only listened to DaP's 6 one time all the way through, let alone May '77. I've barely touched the surface of Spring 1990 as well. Since this is not going to be limited edition, I will wait a while before I purchase Really? Dead.net says it's an "individually numbered, limited edition of 12,500." Will there be a more general release? That would be good; I just want the music.

4/24/78 just arrived. I'm still working through the '77 box. Another reason why I'm not springing for Sunshine Daydream. As The Beatles sang, it's all too much. A note about the film: very disappointing that there's so little Keith footage. That may have been the fault of the amateurish cameramen, but still. The segment of the baby with the ice cream and the dog is priceless; worth the cost of admission.

Happy birthday, Lon!

Mobley sounds great on this:

I have no interest in this.

Does anyone have discographical info on this concert? The Ellington sites only had info on the Duke's performance. Is there a better sounding copy than this one available? archive.org

PopMarket's offering 3 Miles LPs in mono - 'Round About Midnight, Milestones, and Someday My Prince Will Come - for $41.99.

The Three Stooges: The Ultimate Collection - $34.99 Amazon

Amazon

It is coming out: Blu-ray DVD Way too expensive for me; would love the CDs but don't think I'd watch it again. Getting a little tired of their high prices and limited editions; hoping the music will be available in another form. The sound was GREAT in the theatre!

Just got back from seeing "Sunshine Daydream," a new movie about a 1972 GD concert. The Dead, at the height of their powers (just back from the Europe 72 tour), played a benefit concert for an Oregon creamery owned by Ken Kesey's family. A local film crew shot the concert (very reminiscent of Woodstock). It was fascinating to see the Dead so up close, and to see them improvise a very intense version of Dark Star in front of my eyes was just incredible. Glad I went. http://www.dead.net/features/grateful-dead-meet-movies/grateful-dead-meet-movies-2013-sunshine-daydream

Just coincidently, yesterday I received in the mail the book "The Complete Peanuts 1959 to 1960." It has an introduction by Russell T. Davies, whom I've never heard of but presume he's British (the spellings and choice of words give him away: trivialise, sod that, counsellor, etc.). In it, he writes this: "When lists of the great comedians are being compiled - those people who know that comedy is just tragedy contained within the right frame - then the names might range from Chaplin to Hancock to Seinfeld, but Schulz is never included." So your post helped tip me off to who was being referenced. Since this thread is (at least temporarily) veering off-topic, I thought this part of Davies's forward was excellent, and pertinent to us music lovers: "But we trivialise this stuff as we get older. We get embarrassed by our love of comic strips and old TV shows. It's impossible to believe that puppets and cartoons and beagles once meant so much to us, so we laugh at ourselves and turn this stuff into ironic pub chat. As though we were once stupid. "Well, sod that! Frankly, I was clever! I chose the best! Because those things you love, they become part of you. In rifling through these new and beautiful reprints, I'm amazed to see how much of Peanuts has entered my way of thinking... "I've still got my collection. All those white-spined paperbacks - well, white until someone decided to print them in colour, but don't get me started, a completist's anger is a fearsome thing - they're still lined up, now transported intact from Swansea to Manchester. And not untouched! Because my love of these things isn't just nostalgic, and I refuse to reduce them to irony. There's still nothing better, on a Saturday afternoon, than skimming through those wonderful books... "My ten-year-old self was right. I love Peanuts now, as much as I ever did."

If I had to guess...are you pulling the first images from Google search results? Those have a file format specific to Google (and are not, say, jpg). After rejection, if you're then clicking through to the actual originating webpage, the image there is a jpg.

There's a mention of Sample in the Houston Press (a local arts freebie). They suggest nominees for a (hypothetical) Houston Music Hall of Fame: JOE SAMPLE At 75, Joe Sample is a Houston legend, but a hard-working one. Fifty years on from departing Houston for L.A. and 40 years on from the Crusaders' groundbreaking jazz-funk album Pass the Plate, Sample is still touring the world, much in demand as a keyboardist and composer. His most recent travels have taken him to Montreux, Switzerland, and concert halls across Italy. Sample moved back to the Clear Lake area ten years ago, and now spends most of his time at home working as artist in residence at his alma mater, Texas Southern University. There, he fronts theJoe Sample Select Orchestra and works on special projects as well as performing with his small ensemble, the Creole Joe Band, which includes such luminaries as C.J. Chenier and Ray Parker Jr. The lifelong musician took up piano at age five, studying under renowned classical pianist Curtis Mayo. By the time he was in high school, Sample had formed the Swingsters, predecessors of the Jazz Crusaders, with fellow Wheatley High School students Stix Hooper and Wilton Felder. Also while still in high school, Sample augmented his experience and his wallet by working on the road with master song stylist Ivory Joe Hunter. But it was Sample's go-for-broke move to Los Angeles in 1960 that led to worldwide fame. After a decade of hard bebop-style playing and albums, the Jazz Crusaders dropped the "Jazz" part of their name and dropped Pass the Plate in 1971, forever altering jazz and popular music. Suddenly, fromZaire to New York City to Paris, the world was the Crusaders' oyster. Yet each member of the band had other goals and career aspirations, and they began to work as L.A. session musicians. For his part, Sample played and recorded with an amazingly diverse list of performers, from Joni Mitchell to Diana Ross, Tina Turner to Willie Nelson. Today, besides his busy touring and teaching schedule, Sample is pushing forward with a labor of love — an attempt to stage a theatrical musical based on the life of Sister Henriette DeLille, a New Orleans nun currently being considered for canonization by the Vatican as the first black female saint.

??? I don't get the connection with the photo. Please explain (at the risk of killing the presumed joke).

Possibly the Motian, since that was included in the Motian box.

Esquire releases were discussed in this thread:

I never use markers in Amadeus. If I want to isolate a particular track from a larger file: First, show the "Selection" window (Window/Selection). In the Selection window, note the start and end timings of the track, which will then be highlighted (once highlighted, you can move those points with your mouse to make them more exact. Also, you can use horizontal zoom in the lower right corner of the main window to better see the start and end points). Then, use shift-command-C to copy the highlighted portion to a new file. You can then work with this particular track: adjust the loudness through Normalize, edit it, etc. Once you're done, save the track. You can then go back to your original file and work on the next track.