mjzee

I can't speak to his later work, but: Public Image Ltd: Second Edition (Metal Box) Public Image Ltd: Paris au Printemps

Saunders / Garcia at Keystone (3 vols) Jazz Modes (Charlie Rouse), 2 vols Arnett Cobb - Deep Purple Brunswick Finger Lickin' Soul, Vol. 1 Dizzy Reece - Asia Minor Dave McKenna - An Intimate Evening Miles Davis - Call It Anything from Live Jazz Vol. 3 Bob Dylan - various non-Columbia tracks: "Lonesome River" on Clinch Mountain Country by Ralph Stanley & Friends; "Dreadful Day," "Ballad of Donald White," "Ballad of Emmett Till," and "Train A-Travelin'" on Broadside Ballads vol. 6; "Only A Hobo," "Talkin Devil," and "John Brown" on Broadside Ballads, vol 1 Moondog - Elpmas

I think it's Stanley, from the shoulders.

Who is the fellow in the upper left corner?

2 tracks: Welcome, and Vigil.

Now available on eMusic and Amazon: One Night Only Clever use of "Living Stereo" (RCA) and the Columbia "LP" icon, but I doubt that's the source of this. Anyone know what this date is?

All right, I'll try to answer my own question: The contains the following albums: Ballads Coltrane Crescent Impressions The J.C. Quartet Plays Kulu Se Mama Live at Birdland (studio takes) Living Space A Love Supreme Sun Ship Transition The Impulse albums not on the box are: Africa/Brass Live at the Village Vanguard My Favorite Things: Coltrane at Newport JC & Johnny Hartman Duke Ellington & JC Live at Birdland (live takes) Ascension New Thing At Newport Live in Seattle Om Meditations Live at the Village Vanguard Again Expression Stellar Regions Interstellar Space The Olatunji Concert One Down, One Up: Live at the Half Note Live in Japan First Meditations How did I do?

Memories of a reggae pioneer By BEN LEVINE blevine@thestamfordtimes.com STAMFORD — His name does not resonate as loudly in the American conscience as Bob Marley, but there are few artists of more importance to reggae music than Mikey Dread. Dread did not achieve his stature as a singer or musician, but rather as host of the ground-breaking radio program "The Dread at the Controls," which aired on the Jamaica Broadcast Company (JBC) in the late 1970s. On Saturday, April 5, the reggae pioneer, who had called Stamford home for the last two years, was laid to rest in his native Port Antonio, Jamaica. On March 15, just six months after revealing to the world he had a brain tumor, Dread, born Michael Campbell, died at his Stamford home with his wife, Monika, and his children by his side. He was 53-years-old. "He was a fun person. Very loving, very generous and he would always make you laugh," said Mabel Burke, 62, who has known Dread and his family for 15 years. "When you were around him, he made you feel alive." Burke, who came to Stamford from Jamaica 35 years ago, remembers Dread as a man of great energy and commitment. He was someone who was willing to do whatever his community asked him to, she said, whether it was performing or talking about social issues. "He was selfless. Whatever he had, he would share with others," Burke said. Reggae music has always been a voice for the people, one that fought for change and triumph; but while many Americans may find it hard to believe, there was a time when the peoples' music could not be found on the airwaves in Jamaica. Dread helped change that with his radio program, and in the process created a legacy for himself that will live long beyond his time on earth. Dread's career in radio began in 1976, at the Jamaica Broadcasting Corporation (JBC), where he started out as an engineer. Dissatisfied with JBC's playlists — which consisted mainly of foreign pop music — he convinced the brass to give him his own radio program. "He spoke the peoples' language," said Leslie Miles, a former JBC journalist who now heads the news department at Bess FM in Kingston, Jamaica. "He was extremely valuable, because what he was doing (at the JBC) was pioneering work. He gave exposure to a brand of music — which is called dub or roots music — that was not being heard (on the radio)." The music was raw and politically charged, and in an attempt to pacify Dread and the music, the JBC aired his show "The Dread at the Controls," from midnight to 5 a.m., Miles said. "But that did not deter him or the people," he said. Dread's program quickly become the most popular one on the radio. It wasn't just the music that drove it, Miles said, but also Dread's unwavering decision to talk about the issues that affected Kingston's most underprivileged people. Miles said it was his outspoken and thoughtful words that won the hearts of his listeners. But this brashness ultimately led to him being forced out of the JBC in 1978. However, by the time he was ushered out, his legacy had been solidified, and Dread began to produce his own material. His records, "Dread at the Controls" and "World War III," became favorites among reggae fans. Dread's popularity attracted the attention of British punk rockers The Clash, who invited him to England to produce some of their music. Dread produced their famous song, "Bankrobber," and in 1980 he co-produced the album, "Sandinista!," before touring with The Clash throughout Europe and the United States. Clive Chin, co-founder of the Jamaica, Queens based VP Records, remembers Dread as a revolutionary spirit, but also as a kind soul who was full of humor. "I remember Mikey as a very smart and witty person," said Chin, who met Mikey in the mid-70s in Kingston, Jamaica. Dread would pop into VP studios from time to time in the early 1980s, Chin said, and was always very interested in the production process. Chin also credited Dread with coining the phrase that VP Records is most famous for. "What everyone says about VP is 'we are miles ahead in reggae music,'" Chin said. "Those are the words of Mikey Dread." Dread honed his skills as a producer at the National Broadcasting School in London, where he graduated with special commendations in 1980. During his time in London, Dread produced several tracks for the UB40. Some of his works in the United Kingdom included narrating reggae documentaries, hosting television series such as the "Rockers Roadshow" and the six-part BBC Channel 4 reggae documentary series, "Deep Roots Music." Miles said Dread was a man of great focus and commitment, and, true to that spirit, he furthered the breadth of his production abilities by earning a bachelor's degree in TV/broadcast journalism in the mid-'90s from Lynn University in Boca Raton, Fla. According to Burke, Dread's first exposure to Stamford came in the late '90s, when he performed at the "Jamaica in the Park" concert at Mill River Park. "Mikey made history in Stamford by performing the first concert of its kind," she said. It was quite an event, Burke said, because during the late '90s and into the early part of this decade, there was a good-size Jamaican presence in Stamford. Over the years. however, many Jamaicans who once called the city home have left, Burke said. And even though he is now gone, Dread's friends said his spirit will endure, continuing to help shape the music of the people and the sound of his homeland. "I will remember him as a man who crated a vibe in Jamaica, and as someone with a good attitude towards music and culture," Miles said. "Mikey was a pioneer, and he led others to do likewise. I'm sure his work did a deal of positive to those who were desperate for their voices to be heard."

At least they're innovative: Review of Sony PFR-V1

Africa/Brass, from the recent 5-cd box. The stereo separation is extreme, sorta unpleasant (although of it's time). Has anyone heard the mono version - is it any better, is it available in any form? Another question: I own the 8-cd "Classic Quartet" box. Which Impulse LPs are not included there? I can think of the following broad categories, but if anyone knows the specific titles, I'd appreciate it: Live dates (VV, VV Again, Newport, various items included in "Deluxe" editions). w/Duke Ellington, Johnny Hartman. The ones with Pharaoh, Alice, Rashied, etc. (and, I know, I know, the takes found after the "Complete" box was issued, and the ones remastered from the original tapes that were found after the "Complete" box was issued...don't get me started.) At least the box doesn't rust.

I just hope this doesn't bankrupt Mosaic. I don't think it will sell well.

Lennie Tristano - Concert in Copenhagen Jim Hall - Live at Town Hall Wynton Kelly - Someday My Prince Will Come Lee Morgan - Here's Lee Morgan Wayne Shorter - Wayning Moments Barry Harris - At The Jazz Workshop Oh, and they now do have the Rolling Stones Abkco catalog!

I want to thank you guys. I ordered, from the Caig website, their Audio/Video Survival Kit (see here), which has FaderLube, cleaner, and all sorts of other stuff (I couldn't just order FaderLube because they have a $25 minimum order). The fader (sorry, potentiometer) is now completely silent. It's a wonderful thing.

A friend of mine picked this book up in England in the early '80's. It's a collection of articles from various sources (rock magazines, etc.). Front cover: Back cover:

Thanks for the coupon. I picked up Billie Holiday - The Complete Verve Studio Master Takes. Net price was $37.79.

As per the Cuscuna and Ruppli discography, Hi Voltage was #4273, and D & E was to be #4261.

I don't know when these slipped in, but they now have a good chunk of the Abkco catalog. No Rolling Stones yet, but some interesting nuggets of the Sixties: Cameo Parkway - 25 Original Greatest Hits Herman's Hermits Retrospective Sam Cooke - Portrait of a Legend Marianne Faithfull's Greatest Hits

This is the oddest Beefheart mention I've seen in a while. In the current (Spring 2008) issue of Travel + Leisure Family, there's an article titled "The United States of Snacks." It says "Turn your next road trip into a nosh fest! Brake at farm stands and convenience stores for the quirky tastes that put each region on the food map. Here, a sweet-and-salty sampler of our nation's standout nibbles." Check out the entry for California: Also, does the border around the candy bar match the border around the back cover of Safe As Milk?

I enjoy Griffin's work with Abdullah Ibrahim. He has a very nice sound. On "African Marketplace," which is a large ensemble work, you notice Griffin cutting through the sound to play his piece, which really makes the whole composition flow. I also got a chance to see him with Ibrahim at Town Hall (Ricky Ford was also in the band). http://www.dickgriffin.info/

Very cool. I'll order some today. Thanks to all for your input.

Thanks, Jim. I called up the web page you mentioned. None of them mention potentiometers, and all look similar but a little different. Would the first one mentioned (#F5MS-15) be sufficient? Or maybe the one that's just $4.95 (#F100L-L2C)?

The Leo Parker just looks like music, y'know? If you could get a visual representation of somewhere in the middle of a jazz performance, that would be it. You can just see the energy.

Just tried compressed air, didn't work.

For those not yet aware, it looks like the entire David Murray DIW catalog is now available.

Interestingly, Blue Note sent out an email on 3/21 that touts "Past Blue Note Titles Now Available For Digital Download!" One of them is the Chet Baker "Most Important Jazz Album." So maybe these will remain "in print" as downloads.