mjzee

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.

I'm now reading the August 2021 issue of Stereophile, and there's an article on page 15 that's relevant here. I'll try to summarize: "The theme (of the conference) was all the ways digital music deteriorates over time even as digital music technology improves, despite the theoretical robustness of digital...Streaming services contain an unknown number of outright damaged tracks, damaged in various ways. How this damage occurs remains mysterious. Lund's main example was Guy Clark's live rendition of "Baby Took a Limo to Memphis," from the album Together at the Bluebird Cafe on the American Originals label. Lund heard a "farting sound" at several points in the Apple Music version of the track..."Farting happens at least at these times: 0:03, 0:09, 0:46, 0:55, 1:04, 1:49, 1:56, 2:03, 2:11, 2:25, 2:45, 2:48, 2:53, 3:15." I heard farting sounds on the versions taken from Qobuz and Tidal, which suggests that it's not Apple Music's (or the other services') fault but, rather, the label's. However, "Listening to the same track ripped from CD shows no signs of farting." (The article then lists other examples.)...All this is compounded by the fact that in the digital/streaming world, it's impossible to know exactly what you're listening to. In the physical media era, all music had catalog numbers. New CDs and LPs still have them, but digital music rarely does. Without a unique identifier, how can you keep track of release-specific information? And how can listeners know what they're listening to?"

I use Amadeus Pro. It does everything I need it to: rip CDs, convert file formats, and more. https://www.hairersoft.com

Pacific Jazz. Contemporary or Fantasy?

Ethel Merman. I have the Tucker release on Archeophone and it's not all that interesting musically; her story's fascinating and she's historically important, but musically she was that era's equivalent to Mylie Cyrus. Ethel Merman was a force of nature. And here's a little political footnote: https://gothamist.com/arts-entertainment/audio-flashback-listen-to-stephen-sondheims-john-lindsay-campaign-song-starring-ethel-merman Too bad he/they were profoundly wrong about Lindsay, a terrible mayor. Arnett Cobb or Illinois Jacquet?

So far, I've had a different experience. I ordered it from them on Saturday. First the entire site crashed while I was paying with PayPal. It wasn't billed, so I went through the process again. The PayPal part went through, but I've yet to receive an acknowledgement of the order from MovieMars. I sent them an email yesterday, but it is a holiday weekend.

Hi, John. I'm interested in the following: Tyner/McLean – It’s About Time promo stamp $4 Tyner ,McCoy – Passion Dance cutout $4 Tyner ,McCoy – The Greeting slight ringwear $4 Curson ,Ted – Jubilant Power cutout still in plastic $5 Haynes ,Roy – Thank You, Thank You slight ringwear $4 Smith ,Louis – Prancin’ still sealed $8 Hutcherson ,Bobby – Conception: The Gift of Love $4 Burton ,Gary – Easy as Pie cutout $4 Burton ,Gary – Times Square cutout $4 Towner , Ralph – Old Friends, New Friends $5 Sebesky ,Don – Giant Box (2 LP) $4 Thanks.

Hank Jones by a hair. I love them both, but Hank is a little more gutbucket and direct. Ed Blackwell or Andrew Cyrille?

Can't believe people are being so literal. I'd also venture to say that 2021 is a good year for Lee Morgan.

1970 was certainly a good year for Harold Mabern, wasn't it? Not only this Morgan release, but also Roy Brooks's "Understanding." Maybe 2021 is a good year for Mabern!

In iTunes (now Apple Music), Gracenote usually lists albums with year of release; more unhelpfully, it's usually year of first CD release. I change the info to reflect recording year. But there was an interesting debate here a few years ago as to which is the more relevant date: recording date or date of first release? Recording date reflects what was influencing the artist when the album was recorded, but release date reflects the time that album, now released, was able to influence its listeners. Larry, since you're now an iTunes/Apple Music software user, it's very easy to sort by year. Here's how I do it: Go to File > New > Smart Playlist... In the dialog box, check "Match for the following rule:" and enter "Year" "is" "1979". Also check "Live updating" and click OK. That's it. That playlist will now show all albums whose year is listed as 1979, and also add new albums as they are entered. You can now name the playlist "Playlist 1979."

Abdullah Ibrahim/Dollar Brand - African Marketplace Al Cohn - No Problem Anthony Braxton - Performance (Quartet) 1979 Art Pepper - The Hollywood All-Star Sessions, Landscape, New York Album, Straight Life Bill Goodwin - Solar Energy Billy Harper - The Awakening, In Europe Bob James - Touchdown The Crusaders - Street Life George Lewis - Homage To Charles Parker The Heath Brothers - In Motion, Live At The Public Theater Jack Walrath - Demons In Pursuit Jimmy Raney & Doug Raney - Duets, Stolen Moments John Coates, Jr. - Tokyo Concert John Lewis & Hank Jones - An Evening With Two Grand Pianos, Piano Play House Keith Jarrett - Nude Ants, Sleeper Nick Brignola - Burn Brigade Oregon - In Performance Ralph Towner - Solo Concert Rosemary Clooney Sings The Lyrics of Ira Gershwin Spyro Gyra - Morning Dance Ted Curson - The Trio

Release date September 10: Six CDs. Every Ray Charles album post-1960 is represented here, along with singles not available on any of his previously released albums. Released on Ray Charles own Tangerine Records and remastered from the original masters, you can now stream all of your favorite hits. The True Genius box set consists of 6 discs including a never before released live concert from Stockholm in 1972. A beautifully designed, coffee table style book includes rare, unseen photos and other Charles memorabilia. The liner notes were written by Quincy Jones, Valerie Ervin and A. Scott Galloway.

I'd like October, please.

Just finished listening to the first disc. This sounds like a Woody Shaw date - he dominates the music. It's very high intensity (isn't all Shaw music?), and the tracks are endless (did Shaw ever record 5-minute performances?) but he is in good form. The surprise for me is Carlos Garnett - that guy can play! I wasn't expecting much because his work with Miles was so non-distinguished, but I think that was the role into which Miles often shoehorned his saxophonists in the '70's (Liebman, Fortune, Stubblefield, or Azar Lawrence didn't come off much better). Here, Garnett blends well with Shaw. Mabern somehow fits the music's context but still sounds like himself; he might be making the music more grounded. The package is designed to look like a Muse release, down to the shade of blue on the label. The only thing missing is a reference to Blanchris.

Can I have October 2022?

Not sure how many groups earn ongoing royalties on recordings, especially from the Fifties and before. Could be they were just paid for the session. Songwriters, of course, continue to earn royalties. Nice to see you back, MG.

Some of my favorite Lee Perry is on this:

A true genius. Really. RIP.