Leeway

That's because each of my posts has so much substance, Each One FEELS like five Thanks for the good words on my avatar- all praise to Lee ! Precisely, thank you very much Can you rig a post count??? BTW, my last three posts are all #299- what's up with that?

You rang???!!! A case in point

Is that a recommendation The same fellow who recorded the awful (sounding) Lovano live set. I hope he's improving

Current issue of JAZZ TIMES has an article by the audio columnist about the iPOD. He liked it. I'm seriously thinking about one now.

I don't think they were designed to be disassembled Do you throw out the CD cases? Doesn't that ruin the resale value (assuming you occasionally sell off CDs?) I really haven't experienced these problems. Perhaps it's a problem in certain climate or storage conditions, e.g, dampish basements, humid or very hot climates, etc.

Received the following e-mail from BN: Any thoughts on the vinyl Coltrane?

I consider myself a very frequent visitor to the Board. Often enough I will see a post by someone whom I've never noticed before, or seen a post by, except that the poster will have hundreds of posts to his/her credit (or discredit maybe ) Anyway, I'm thinking, "how can this person have 500 posts, and this is the first time I've seen them?" Now, I'm sure others have the same reaction to MY posts- fair enough. I figure there must be posters who usually only post in certain threads, for example in the Politics or Misc non-music threads. I rarely venture into those threads, so perhaps I am missing entirely some posters. Are there various "subcultures" on the Board, with their own inhabitants, the Politcs types, or the Mosaic types, etc? Someone who racks up 300 posts to the Babe thread and one to the AOTW thread? Just wondering.

Some suggestions: Art Pepper- "Straight Life"- would be a good one Chet Baker- "Chet Baker Big Band" (with Bud Shank, Bobby Timmons, Phil Urso, Conte Candoli, et al Clifford Brown- "Clifford Brown with Strings"

Interesting how many of these New York pressing made it to Europe. Did people carry their collections overseas, or order from the States, or were early American (especially New York) pressing Blue Notes carried in European shops as a matter of course? I'm not sure but I think that "early" Blue Note's were only pressed in the States. The only european pressing I own is a german blue/white Liberty pressing. Art Blakey/Roots and herbs. Yes, exactly my point. I thought that the records would have to come from the States. The idea of American servicemen being the "colporteurs" is an interesting one. I wonder what was the extent of BN's foreign sales? I've not seen this aspect discussed before. Also, I was wondering if some BNs might have been French or English issues. Don't know when they started being pressed in Europe. Does anyone know about that? When did Pathe Marconi start producing BN titles in France? I don't know which English company handled BNs; anyone know about that? Sorry, so many questions, so few answers.

Why would someone with all those BNs have DISCO records, fer crissakes BTW, what part of the country was this?

How exactly does it work? Also, I had read something about the cleaning brushes being hard to obtain for some reason?

It's hard for me to generalize. I probably have a couple hundred plus BN LPs, from W.61st and W.63St pressings, to NY USA, Liberty, UA, up to Conn reissues. Generally, the earlier the better. OTOH, I'm "easy" when it comes to BN vinyl. I generally like Liberty and even UA pressings. Don't like the Manhattan era much at all. I'm indifferent to the sound quality of the Conns. I also have some Classic reissues (the Mobley on 200 g, a very good one, Lee Morgan, Indeed, pretty good, not great, and some others). I have some japan King pressings; these are pretty good. I think the essence of BN vinyl is the immediacy and presence of the sound; it's right in front of you. I think RVG aimed for that effect. The best ones make you feel you are right in Rudy's living room. Some of the later pressings retain this quality, some don't. The way I look at it, they almost always sound better than CD, although CDs are getting better. Perhaps some people get bugged by this "in your face" quality, but I like it.

Interesting how many of these New York pressing made it to Europe. Did people carry their collections overseas, or order from the States, or were early American (especially New York) pressing Blue Notes carried in European shops as a matter of course?

Posted at another board (has to do with audio and inmates ). True story? If so, perhaps the ultimate garage sale haul. The guy told me that this took place in SoCal. What do you think?

Love those understated Dusty Groove guys " a bit rough"- translation: "sounds like it was recorded in a cement factory"

Still not an answer to your question, but.... I also have Classic's "Swingin' Affair" in stereo and it's very, very good. If you need/want this title do not hesitate to search for and buy it. IMO, a super reissue in every way!! I have a feeling I would like this one more than a mint original. The music comes across incredibly and without some of the flaws I notice in originals from this period. I have a Liberty pressing of this title, and it sounds pretty good to me. What flaws have you noticed? I have some other Dexter as well. As far as I can tell, Dexter on vinyl sounds particularly good; perhaps RVG liked the tone that Dexter got from his horn and made sure to capture it. Anyway, it really comes across. Haven't tried the Classic, but if I didn't already have the title, I would. BTW, I'm leaning towards the mono Blue Train

Any views on the Classic Records BLUE TRAIN mono vs stereo?

Andrew Hill- "Smokestack"- just picked up a UA-issue of this LP. Odd lineup with 2 bass players, but a fascinating LP.

This is not my beautiful home.

Come... Come... The Dark Side beckons.... Buy a turntable... Last year I had a chance to buy about 5 or 6 Tal Farlow Verve LPs. I think they were about $12-14 each. For some reason, I passed. Now I'm regretting that decision (or lack of decison). So my question is: Would I have been better off with the LPs, or does the Mosaic set supercede the LPs? In other words, is it better to have the Mosaic presentation of the music, albeit on CD, or the original LPs?

What do you think of a Helen Merrill set? A terrific and underappreciated singer. Most of her EmArcy and Verve albums are OOP, and Mosaic should be able to get the licensing worked out (I think).

Then why were the other LPs all under Pearson's name and for other labels? Good question, and I probably don't have a good answer. What I was thinking was that Pearson might have wanted to do the albums for BN with Coles listed again as leader; when BN declined that arrangement, Pearson took the album(s) elsewhere, to Atlantic. Yes, Atlantic wasn't going to put Coles in the leader spot either, but perhaps Pearson was making a point simply by taking the albums elsewhere, even if he couldn't help his friend Coles. Admittedly, sheer speculation, but it is interesting to try to figure out why BN did not continue to support the Coles/Pearson arrangement.

Mosaic sets are limited, numbered sets, ipso, the concern for numbering. That is doesn't bother you is OK, your mellowness is enviable. There is a practical downside. If you ever want to sell the set, your potential buyer will probably be a neurotic number counter

I have two of those repackaged issues, although they are on the Applause label. I'm listening to Dexter Gordon "Doin Allright" right now and it sounds great. I don't have another copy to compare it to, but I like this one. The other is Lou Donaldson's "Lush Life." I like it better than my other vinyl copy, which is a 1986 DMM digitally remastered version (remastering by Ron McMaster). I don't know when these were issued, because the only date on each of the Applause copies is the copyright date of the original recording, but it identifies Liberty Records as the copyright holder. The cover art is pretty bad, but not quite a 32 Jazz level of bad. On the Gordon it's just a bright yellow cover with the image of Dexter in the carriage cut out , and on the Donaldson it's a white background with a red-tinted black and white photo of Lou . Looks cheap, but inoffensive. Edit: Both were gotten very cheap as I remember. The price sticker is still on the Donaldson and it was $4, and I remember picking up "Doin Allright" at a garage sale here in DC for $2. I have both of those on Applause. "Doin Allright" sounds especially good. These reissues usually can be had for $3-$5. Cover art is not so good, but these reissues can provide a good vinyl fix, when other pressings are beyond reach.

Nevertheless, Phil is in there, with his piece about his earliest music teacher. Nice little article really. I know that DB wanted to have major jazz figures of today commenting on major jazz figures that influenced them. Phil's piece doesn't quite fit that parameter, I guess that's what the controversy was about, but to Phil's and DB's credit, they buried their differences and the piece got run. Interesting issue, worth getting.