Comments on: Updates From The Jazz Record Center Auction, Part 2

By: Dan Axelrod

Dan Axelrod — Sun, 28 Aug 2011 16:14:53 +0000

Z-
The word Kotex has such a vintage ring, that someone should start kotexcollecor.com. The site could also track prices of antique Midol bottles. Tampons would be included as well, but only the papyrus ones made in ancient Greece.

Regarding warpage, shellacs are a breeze compared with vinyl. Stick ’em in the oven till they’re malleable, put ’em between two pieces of glass and voila. Haven’t tried it myself, but I have a a 12″ Granz jam 78 deeply in need of this repair. The record features this weekend’s birthday boys- Bird and Pres, and the warp is so pronounced that Lester is warbling not like a meadowlark…but like Vido Musso!

By: zarabeth47

zarabeth47 — Sun, 28 Aug 2011 07:11:17 +0000

DA: All good here man! I feel like the word has it’s place, it just surprised me is all. I like the way you used the color metaphor! It was strong in character and very correctly placed in syntax. It had emotion as well etc etc … I guess that’s why it surprised me so much!
On a different note and pertaning to our man, Sonny Rollins: I recently bought some SR lps in a collections and the SR +4 (prestige 7038) had a huge edge warp to it making it unplayable. It used to be records like this were just traded into record shops for whatever in trade or thrown out.
Well, I live in AZ and it’s really F@*^$% hot here! There is a way to take warps out of records using the old ZARABETH47 SECRET INTERPOLATING GALLACTIC DE-WARP-I-ZATION METHOD which is another topic all together and involves profuse sweating, kotexes, a car, and several gallons of Timothy’s bitter, & BTW, must be bonded/liscened & implemented by the chairman of Recreational Activity in the state of AZ only. (LOL!)
To make a long story short the first attempts proved no results as the record is a big thick heavy DG SOaB! Cheap 70s Columbia vinyl – a few hours-BING! A 50th St. Yellow label – NO WAY! Well, the method involves strategy in terms of THE HOTTEST DAYS OF THE YEAR IN AZ! So … I pick those, get the records doin it and … NOTHING! Day after Day …..NOTHING! AAAAAAHHHHHHHHHHGGGGGGGGHHHHHHHHHHHH!!!!!!!!
So I give up at this point. Put the record in the trade pile and go on dreaming of all the other Rollins records I need (not want but NEED!) Well, thank god and as it’s really too hot to go record hunting here, yesterday, as I am skimming over the ol’ trade pile, hmmm …. that old NY yellow label stares me in the face and I say “one more time baby!” As it’s record heat index advisory time here I placed the old ZSIGDM into action. WOW!
Well, it’s not perfect and it does require a little bit of a grammage boost, BUT … it is fully playable now! Nice clean RVG sound! Oh yeah baby! Almost threw Sonny to the wolves!
Well I hope everyone enjoys this recent experience and, oh yeah, I’m still in the hospital from driving w/o AC but my doctor says I can go home tomorrow and listen to this baby once the hydration levels come back up! DA: you might find this appropriate – FUCK YEAH! LOL!

By: Dan Axelrod

Dan Axelrod — Fri, 26 Aug 2011 16:37:51 +0000

You want a reason for choosing a particular word, Zarabeth? Well here’s the sequence of events:
1) Al posted a comment that when he was young, Rollins “The Way You look Tonight” seemed unrecognizable as being the same song that Getz played.
2)I laughed knowing he was absolutely right. They’re not the same song ’cause SONNY NEVER PLAYS THE FUCKIN MELODY!!!
3) I was proud of the pop tune cennection. I’d never thought of it before nor heard it referenced…so I delivered the line with gusto.
4) Then the fuck police chimed in and I reacted the same way Charlie Christian reacted at a jam session when he turned his amp up to full volume…and Barney Kessel said “Charlie- why do you have to play so loud??”
Charlie reposnded “I like to hear myself”. An original thought can spark excitement in someone that causes them to “up the volume”
5) The part of the pop song by the way that steals Sonny and Monk’s alteration is: Sunny afternoons that made me feel so warm inside Have turned as cold and gray as ashes As I feel the embers die
…and if anyone can find a google reference that my observation didn’t warrant full volume, I’ll rewrite it without the adjective, Zarabeth.

By: zarabeth47

zarabeth47 — Fri, 26 Aug 2011 06:01:46 +0000

No friggin’ offense at all – just friggin’ wondering why? I can fuckin’ handle it! ALL IN GOOD FUN EVERYONE! I do like the word in jovial conversation but it was just kind of a shock for me at the time! All in good taste DA! … “I don’t see a strange creature outside on the wing Mr. Shatner.”

By: Dan Axelrod

Dan Axelrod — Wed, 24 Aug 2011 12:27:16 +0000

Spoken like a gentleman, Dotter. I just reacted to lennib’s misunderstanding of my adjective of conviction…like the obtuse German inquiring about the Three Stooges: “Vy do zey call him Cuhrley…he has no hair??

By: dottorjazz

dottorjazz — Wed, 24 Aug 2011 07:30:26 +0000

don’t dig that Brotzmann, as I don’t dig european free music. I remember the Critics (!) writing about a group Archie Shepp brought to Europe in 1967: they called his music “defecation on the audience”.
one of these concerts is well documented on record and is one I really love.
I’ve never got dirty out from it .
Grachan Moncur III, Roswell Rudd (tb) Archie Shepp (ts) Jimmy Garrison (b) Beaver Harris (d)
“Donaueschinger Musiktage”, Donaueschingen, West Germany, October 21, 1967.
I also remember how the most acclaimed critic in France considered Bebop at its beginnings (and after).
Mr.Charles Delaunay and his anti-jazz.
please lend your ear to the alto break in A night in Tunisia.
some music you like, some you don’t, depending on different factors.
and more: Miles was suggested to fire Coltrane from his group. Trane played long solos and when Miles asked him why, he said ” I don’t know how to stop”, and Miles: ” simply take your sax off your mouth”.
Pres was criticized for having such a different voice from Bean.
Monk couldn’t play.
but the most ferocious critics came with Free Jazz: Arrigo Polillo, the most appreciated Italian jazz critic, couldn’t stand the New Thing, at least for years.
then he changed his mind.
it’s music: love it or leave it.

By: Dan Axelrod

Dan Axelrod — Tue, 23 Aug 2011 23:56:45 +0000

Sorry Lennib-
http://www.youtube.com/watch?v=3Xa75w-vEXk
is the Brotzmann video I watched and I finally got it and it’s even funnier than the audition scene in Mel Brooks’ The Producers.
You take 4 non-musicians with the sensitivity of stormtroopers and put instruments in their hands. But how did they get thru it without laughing? The outtakes outtakes must be a real pisser…I mean urinator!

By: Dan Axelrod

Dan Axelrod — Tue, 23 Aug 2011 23:21:56 +0000

Lennib-
Fuck isn’t profane when used comicly for emphasis and if that’s all you got from my post, it explains your love for Peter Brotzmann. I just watched a youtube clip of him and suddenly realized I was wrong. Hitler is the SECOND most offensive German in history!

By: Mike

Mike — Tue, 23 Aug 2011 16:51:30 +0000

dottor,
My story would be similar to yours except the first jazz I got into was the mid-late 70s fusion stuff. From there I went backward but like many people my favorite era is the 50s – early 60s. I rarely pull out those fusion records anymore except for nostalgia’s sake. It’s not that I think they were terrible, it’s just that I find them very much of there time while the best jazz(like the best of all music including even pop) is timeless.
I have a lot of “free jazz” on vinyl and cd. I find I listen to it out of curiosity though. Ornette doesn’t speak to me the same way as Jackie Mclean does. Yet, I completely agree that Ornette had a substantial effect on the way jazz musicians expressed themselves from 1960 to today. His ideas were revolutionary and from those ideas it opened a whole new avenue of expression for jazz musicians. My problem is that while I agree with there ideas and appreciate what they are saying I simply don’t find it musical.
This leads me to jazz today, and by today I mean post fusion. I believe that people are right when they say that there has not been anything revolutionary in jazz since free jazz. I find it hard to imagine what would even follow it, free jazz to me seemed to be the end of originality in jazz. But I don’t believe that it is the end of expression in jazz which to me is really what it’s all about. There are some great musicians out there taking the ideas learned from a century of jazz and using it to express themselves in wonderful ways. They are not as numerous as they were before 1970, but there is a lot of talent out there. I don’t find Jazz to be dead, just at a mature phase like most arts and science achieve when all of the revolutionary movements end and the fruits of those movements are put into use by the next generation.

By: dottorjazz

dottorjazz — Tue, 23 Aug 2011 09:01:05 +0000

at least we are three !
I could have written all Rudolf wrote.
sometimes a doubt tightens my throat: am I too old to appreciate jazz after 1970 ?
I was 17 in 1970 and I had just begun to explore my new jazz interests. I attended concerts in Italy and abroad, I travelled to festivals (North Sea, Nice, Juan les pins…), I was, as now, open to new expressions in Music, some of which were, and are, really hard, eg Cecil Taylor, 65-66 Trane and so on.
as jazz ended his historical Free phase, ’round 1970, I was unable to find a new direction. While I continued to search, I could’t get satisfaction in “new jazz”.
so I had to turn back to “old 60’s and 50’s”, I explored new, for me, musicians (Pres and Bean in their 30’s and 40’s), the Rabbit and Frog, Lady Day in her whole production.
but I was in need of something more contemporary too.
well, if after 1970 Jazz was unable to strike me out again, I began to search in another field, were I was totally ignorant. Like a virgin I approached Classical, from Middle Ages to Contemporary and I got it.
My friend London Calling says that is “music of the dead”.
I say: no, it’s Music, an expression of love and soul.
My most liked expression, even if the composer is laying in the ground, Bach as Bird, Ludwig as Trane, Mahler as Miles.
they are simply resting for a longer time.
but their Music lives, for the pleasure of all will like to know Her.