mjzee

I know the Ray Bryant date. Excellent, muscular, clear-headed piano. It was a DAT cassette, which accounts for the vivid sound.

No one can.

I have some forgettable Frank Foster - Frank Wess albums. I always thought of him as an "older-style" musician, a little stiffer, more like a Basie soloist. Was always surprised to see his association with Elvin Jones. I guess they were friends from Detroit, but still, Elvin's use of Foster meant the guy was on the ball.

So how does that work in the current case of the Sexiest Album Covers thread? It would be nice if Sangrey didn't "let stuff drag you down," and in fact leave it alone. Instead, he's intent of stinking up the place. I am seriously thinking of cutting down my yearly $ contribution to this board because Sangrey thinks he owns this place.

Another pet peeve: When a CD is mastered (especially classical CDs) and there's too great a difference between the softest and loudest passages. For example, I'm experiencing this repeatedly with the Warner Barbirolli box. Much of the performance is impossibly quiet (unrealistically so for a concert stage), and then it gets very, very loud. It just comes off as annoying, almost an affectation. This wasn't as big a problem with LPs, since mastering was always a little louder on the soft passages to compensate for surface noise. But with CDs, I sometimes find myself having to ride the volume control, paying more attention to the mechanics rather than simply enjoying the music.

Thanks for that. Funny that it was the first question asked.

I saw him once in a duo with Tommy Flanagan at Bradley's. Excellent bassist; always wondered if he was related to the pop singer Jason Mraz. R.I.P. and thanks for the music.

I received mine today.

Good luck! Hopefully this will be a great weight off your mind.

I wonder whether these recordings are in mono or stereo. Given that the sound was intended for film, I’m guessing mono.

It’s been a pretty unprofessional experience, but will hopefully soon have a happy ending. Like you, I didn’t think to print the order acknowledgment after placing the order (because I expected an email), but since I paid with PayPal, I had a receipt from them. I forwarded that to MovieMars twice. The second time, they told me that due to a glitch, they had no stock and no information when it would be in stock, and what would I like? I thought about the various pros and cons, and replied later that day that I’d like a refund. The next morning, I got an email from them that they can’t accommodate my refund request because the item has already been shipped! I asked for a shipping number; apparently it will be delivered via DHL on Saturday. It ain’t over till it’s over, so we’ll see. The only plus I can say is, given the high level of professionalism I’ve come to expect from Amazon, DG, ImportCDs and the like, this experience has been almost charmingly amateurish.

Here’s hoping for a speedy recovery!

Forgive my ignorance: what's an OOO session?

R.I.P. 95...he had a good life.

Then there were the albums that Muse recorded Live At Sandy's: Arnett Cobb (two volumes) Eddie Vinson Buddy Tate

Dennis Coffey - Live at Morey Baker's Showplace Lounge

Jimmy Smith - Live At The Club Baby Grand (and this fits the original parameters of this thread, because there were 2 albums recorded there - vol. 1 and vol. 2). Johnny "Hammond" Smith - Black Coffee (recorded at the Monterey Club, New Haven, CT). Charles Earland - Living Black! (@ The Key Club, Newark, NJ).

Good luck with the download code. The one vinyl release I have from them was Back Door; it came with a download code, but I couldn't successfully do it. I couldn't even figure out where to download it from.

This is great writing.

I'll just list this here but without a link, since it's presumably a bootleg...looks interesting though. "Release date" October 1:

Excellent article. Thanks for posting that.

I spoke too soon (I was misremembering the other tracks on the Andorran release, which were not the 1953 Roosts). Here's a comparison of the Roulette and BN box: Roulette BN Box Embraceable You 2:52 2:48 Burt Covers Bud 3:07 3:03 My Heart Stood Still 3:20 3:15 You'd Be So Nice To 2:41 2:36 Bag's Groove 2:15 2:11 My Devotion 3:05 3:07 Stella By Starlight 2:10 2:06 Woody'n You 3:00 2:58 While the 1947 tracks were consistently shorter on the Roulette, these differences seem all over the place. Not much difference on Woody'n You, though.

The remaining 8 Roost tracks (from 1953) are at the correct speed.

I read a lot as a kid/tween/teen. I lived in Brooklyn, and we always had the newspaper at home (New York Post and/or Daily News), and even tabloids then reviewed jazz shows, and there would be ads, so I would just absorb names. I'd go to the library and read magazines; I'd buy Rolling Stone/Rock/Crawdaddy/Creem, and even these rock magazines would review jazz albums and have articles on artists. I'd start to suss out which artists were important. Price was very much an issue. I bought the Columbia Mingus twofer "Better Get Hit In Your Soul" for $2.99; wasn't sure I liked it, but I kept listening to it. I got Coltrane's "Selflessness Featuring My Favorite Things" from the Record Club of America; loved My Favorite Things, hated Selflessness. I'd hit every cutout bin around, buying not just jazz, but folk, rock, blues...anything interesting. I was sometimes disappointed, sometimes not. I still liked rock more, but that was also a time of great creativity in the rock world. The funny thing about all that reading is that I also read a lot about classical: concerts, record reviews, artists. It described a world even more alien than jazz: the repertoire, the milieu, and of course the high prices. I found some Command LPs in the cutout bins, and ordered some from the Musical Heritage Society, but that was about it for a very long time. Now I buy all those "bricks" of artists such as Szell, Horowitz, Gould, Stern, and so many more at rock bottom prices. It took a while, but I'm finally there.

Sad news. In the mid-70's, my first girlfriend knew Phil because he was her youth activities leader in synagogue. One Saturday night, I took an uptown bus with him and her to the West End Cafe, where we saw a band that he booked there - it was probably The Countsmen (I remember Jo Jones on drums). We chatted a little on the bus, and he seemed like a nice guy. Of course, later on I knew about Bird Flight and all that, but that bus ride is my main memory of Phil. R.I.P.