mjzee

If I enter "Grateful" (without the quotes) in the search box, why doesn't "The Grateful Dead Dark Star" thread show up in search results?

I've just finished listening to "Garcia Live: Volume One" and can heartily recommend it. It's a great band; they just jell. Johnny De Foncesca is a much more interesting drummer than Bill Vitt. The tune selection is great, the sound quality is excellent, and each disc flows so nicely. Garcia was in great voice that night, and his solos are fabulous.

If someone posts a link to a YouTube video, when I open that thread my iPad screen will involuntarily switch to YouTube.

I like far more of Frisell's work than I don't like. His tone, his timing, his taste... all good. Here's a great one that hasn't yet been mentioned - he really carries the date: One central aspect of his style is his self-effacing manner; he seems to work hard to not be the center of attention. In that respect, he seems to shy away from the role of "leader" or "star," and sometimes I do need that as a listener - which could be why I slightly prefer Scofield or Charlie Hunter to Frisell. But I do think Frisell has thoroughly digested more varied styles than Sco or Hunter. Another one I like: But I have to say I saw once the quartet with Ron Miles and Curtis Fowlkes, and the music left me cold.

The sale is probably due to Norman Lear's getting old and wanting to cash out.

I wasn't that much into jazz at the time (1973), but I was on Capitol's mailing list and received a copy of Cannonball's "The Happy People." It's a Brazilian date, with George Duke, Airto, Flora Purim and Roy McCurdy...those are the names I recall. A really happening, fun, zesty date. I sold my LP many years ago and haven't seen it since. So I think there's a need for a Mosaic of at least the '70's material. Could someone post a list of the Capitol Cannonballs?

The Capitol Adderleys have been shamefully neglected on CD. One album-note writer put it nicely - it was early days for jazz tuba. I think it's like seeing an elephant dancing - it's not that it's dancing gracefully, but you're supposed to admire that it's dancing at all.

In my experience with upgrading, a lot depends on the age of your machine. I have a mid-2007 iMac, which is the earliest possible machine for a Mountain Lion upgrade. While I like ML, I've found my machine acting a lot more sluggishly than before: programs and web pages take much longer to load.

Which turntables do you use to play your 78's? (If this is covered on prior pages, my apologies.)

Interesting. I wonder whether that factored into their decision to drop optical drives from the most recent iMacs.

Lotsa good eating along that route. I'll try to say hi to you at the show.

That happens to me too. I think it's the technology of that particular disc ("red book" vs. I dunno... I was never up on that whole tech area).

He can't read the DVD. His MAC locks up. I've tried three different times. I can do any of these formats Try "iPod/iPhone high quality"

If you can convert to any format, try converting to iPad/iPod setting.

It might also be his optical drive. Try first transferring the files to his desktop, perhaps by using a flashdrive, then he could try opening those files. erwbol's suggestion is also a good one.

Another thing gumming up the comparisons is the number of LP's remastered for CD, with results far better than the original LP. And how about LP's which had a degradation of sound from initial pressing to later pressings? An independent record store opened in my neighborhood recently, and I've had a lot of fun going through the stacks. Just yesterday, I found some Savoys I don't think landed on CD, as well as "the 86 Years of Eubie Blake."

Ah, but if you could hear it on LP...

End of an era for eMusic - WSJ

The only Abercrombie album I have is Gateway's Homecoming (apart from Joe Lovano's Landmarks). How would you grade Abercrombie's sound on that (those)? Sorry, I don't have the album to judge. If this were the case, and you'd have to trust the artist's judgement on considerations such as this, why in the world would he still be recording for ECM some 40 years after he began? FWIW, he lives in my neighborhood and I run into him from time to time. Whenever I mention things that the ECM naysayers on this board and other boards say about ECM and its "sound", he just laughs, shakes his head and says something like "where would the world be if people didn't have SOMETHING to complain about?". You're just trying to stir the pot, and are full of scata. If you're the native NYer you claim to be, you'll know what I mean by that. Wow, you're abrasive. A second for the Tyner album. Abercrombie on electric mandolin burns! But the whole album is good: Freddie, Booby, Arthur Blythe.

I can't help thinking that Abercrombie isn't well served by the "ECM sound." His playing has a lot more bite and verve than how he's recorded by ECM. In listening to "Cat 'N Mouse," i really have to crank up the volume to get any sort of dynamics; otherwise, it just sounds like noodling. Or an album like "Tactics," which should be a great organ trio album. The sound is almost too polite.

Don't forget your hair shirt!

GRP was the jazz equivalent of mood music. It's as if you took CTI and rubbed off all the sharp edges (!). I worked in a jazz record store when that stuff first came out: Tom Browne, Dave Valentin, Angela Bofill (who wasn't too bad), they all flew off the shelves but were painful to listen to.

I'm enjoying reading Jazzbo's posts, and am learning a lot from them. I'd hate it if he was somehow bullied into not sharing his point of view. We really need to let each other talk more; you'll never learn from something that was never posted. When in doubt, ignore.

I'm not a musician. Was into Zappa from an early age. My first album was Absolutely Free when I was 13 or 14, and saw the Mothers at the Fillmore when I was 15. Bought every album through the mid to late '70's, but noticed a definite dropoff in quality around '76. Really disliked Sheik Yerbouti and tuned out then; got back into him around Drowning Witch, then cut the cord after Them Or Us. Some of this may just be attributable to maturity: Zappa opened the doors to other musicians, and he then paled in comparison. But I definitely saw more flaws in him as time went on. He always did give great interviews, but he had a lot invested in them: he once pointed out that he didn't have a lot of money to put towards promotion, so his avenue to "get the word out" was through interviews. As for his personality, the picture given in the David Walley book is a complicated one.

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