Does this mean you will exchange those files? That would be great. Btw: the files play with Quicktime, but that's about all I can do with them. Like Philip Toast gives me a "corrupted MP3" message, when I try to drag them into the audio CD window directly. I have never tried that before, I always converted them to AIFFs. Can Toast burn MP3s directly?
- --Mo
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Date: Tue, 27 Nov 2001 23:01:03 +1100
From: Philip Jackson <pdj@mpx.com.au>
Subject: Re: (exotica) upload of the week
on 27/11/01 10:53 PM, moritzR at moritzR@t-online.de wrote:
> Can Toast burn MP3s directly?
Yes
Philip
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Date: Tue, 27 Nov 2001 11:59:55 -0000
From: G.R.Reader@bton.ac.uk
Subject: (exotica) another ghost world rave
Only a few ,months after our brothers in the new world, I finally got to see
Ghost World. Well worth the wait, the clip of the Bollywood film 'Gunaam'
is as great as described, what a wild song! (And I don't use exclamations
too freely).
All in all a nice companion piece to Alans film, thanks for the tip.
It seems my recent social life has been based on tips from this list. Maybe
> > Only a few ,months after our brothers in the new world, I finally =
got to
> see
> > Ghost World. Well worth the wait,
>=20
> sh..! I missed it. It ran only one week here.
>=20
> --Mo
> ............................
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> http://moritzR.de
> exotica@web.de
>=20
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Date: Tue, 27 Nov 2001 14:06:20 +0100
From: moritzR@t-online.de (moritzR)
Subject: Re: (exotica) another ghost world rave
G.R.Reader@bton.ac.uk schrieb:
> Shame on you Mo. Actually I thought I was going to miss it, too, but its
> on its second week. And at one of the big chains, too. There is hope.
> Mind you nearly all the other screens were Harry Potter.....
>
Sure. I guess Ghost World cannot be too far away from being released on DVD, so...
BTW, I liked Harry Potter...
- --Mo
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Date: Tue, 27 Nov 2001 14:13:38 +0100
From: moritzR@t-online.de (moritzR)
Subject: Re: (exotica) upload of the week
With the help of Philip (thanx!) I managed to convert the Lee files and burn my CD. It worked only in mono, but that's perhaps the original files were in mono, right? Is this a mono album, or do you just use mono, because the files become too big otherwise, Mr. Hip?
The record sounds like a children's record, with uncle Lee going "once upon a time there was a very friendly dragon named Leroy..." et al. You do have a preference for word records, don't you? Anyway, great to have this. A big Mahalo!
- -- Mo
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------------------------------
Date: Tue, 27 Nov 2001 14:11:37 +0000
From: thinkmatic@att.net
Subject: [none]
<<BTW if you are sampling at 22Khz you are compromising
the fidelity a bit.
22Khz means an absolute upper frequency of half that ie
10Khz - well below
the levels available to the human ear. Not that it
matters too much after
mp3ing them at 128Kps.>>
In a 7 page article on vinyl restoration in the
Aug. '99 Digital Musician magazine, Scott Garrigus
(www.Garrigus.com) wrote that vinyl recordings don't
have a frequency response higher then 10 kHz and
therefore a 22.05 kHz sample rate is fine. Infact to
digitize them at a higher rate may emphasize the noise
in the recording and not the music. Also at the 22 kHz
rate click removal software works better.
So even if you had 320kBit mp3s the sorce material just
doesn't require that much sampling.
- -Roy
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Date: Tue, 27 Nov 2001 14:15:33 -0000
From: G.R.Reader@bton.ac.uk
Subject: (exotica) When threads collide
Now, this sounds just like one of the conversations in the party scene in
I'm also thankful that Lee's stuff is becoming easier to get hold of. For several years, I knew him only by 'Nancy and Lee', and cover versions other bands had done (notably UK combos Gallon Drunk's take on 'Look at that Woman' and the Earls of Suave's 'A cheat'). After a year or two, I chanced on 'Trouble is a Lonesome Town' in a record store. Then thankfully ebay, online record sellers, and the CD reissues came along...
I still really regret not making it to his show in London last year though...
Jonny
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I'm also thankful that Lee's stuff is becoming easier to get hold of. For several years, I knew him only by 'Nancy and Lee', and cover versions other bands had done (notably UK combos Gallon Drunk's take on 'Look at that Woman' and the Earls of Suave's 'A cheat'). After a year or two, I chanced on 'Trouble is a Lonesome Town' in a record store. Then thankfully ebay, online record sellers, and the CD reissues came along...
I still really regret not making it to his show in London last year though...
Jonny
- --
recommend songs at www.musicaltaste.com
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------------------------------
Date: Tue, 27 Nov 2001 16:25:27 EST
From: DJJimmyBee@aol.com
Subject: Re: (exotica) Quincy Jones and Saver's
In a message dated 11/26/01 8:07:00 PM, thinkmatic@att.net writes:
<< "Tom Jones Live In Las Vegas" is that the one with him
singing "Wichita Lineman"? >>
It might be--I forget right now-- but I bought it mainly for "Bright Lights
and You Girl", covered by Seks Bomba and also well done by Gene Chandler on
Mercury in '70. Tom's a little hoarse on this one, but the audible female
appreciation can be heard between tracks and of course the Welch soul of the
man shines through on each track
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Date: Tue, 27 Nov 2001 16:42:32 EST
From: DJJimmyBee@aol.com
Subject: Re: (exotica) another ghost world rave
In a message dated 11/27/01 7:01:16 AM, G.R.Reader@bton.ac.uk writes:
<< It seems my recent social life has been based on tips from this list.
Maybe
I should get out more.... >>
Unless, as suspicions have recently been expressed, that this list is really
comprised of dysfunctional shut-ins...JB/merely dysfunctional
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Date: Tue, 27 Nov 2001 16:46:30 EST
From: DJJimmyBee@aol.com
Subject: Re: (exotica) Sunny
In a message dated 11/27/01 12:15:18 PM, djmarco@thestepgods.com writes:
<< "Sunny" is the jam! I've got a great organ-based version of it by Henry
Cain
(Capitol, late 60s) >>
Sounds Interesting...I probably have more versions of "Sunny" than just about
any other tune...Interestingly enough (or maybe not) Bobby Hebb did an update
called "Sunny '76" disco style on Laurie Records which managed to retain the
integrity of the original and get the dancers on the floor....JB
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Date: Tue, 27 Nov 2001 16:57:31 +0100
From: moritzR@t-online.de (moritzR)
Subject: (exotica) Re: sampling rate
thinkmatic@att.net schrieb:
>
> In a 7 page article on vinyl restoration in the
> Aug. '99 Digital Musician magazine, Scott Garrigus
> (www.Garrigus.com) wrote that vinyl recordings don't
> have a frequency response higher then 10 kHz
This cannot be true. I remember test records that went up to 16.000 at least.
- --Mo
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------------------------------
Date: Tue, 27 Nov 2001 10:46:56 -0500
From: <lousmith@pipeline.com>
Subject: (exotica) [obits] Norman Granz,O.C. Smith,Bo Belinsky,Melanie Thornton,Passion Fruit
November 27, 2001
Norman Granz, Founder of Verve Records, Dies at 83
By RICHARD SEVERO,NYTimes
Norman Granz, the gruff impresario who in 1944 created Jazz at the Philharmonic, a touring group that took the jazz idiom out of the smoky, noisy bars and dance halls and tucked it into sumptuous concert halls where it flourished, died on Thursday in Geneva, where he had lived, mostly in retirement, since 1959. He was 83.
Mr. Granz also represented stars like Ella Fitzgerald and Oscar Peterson and championed their kind of music even though when he began, some critics attacked his musicians and their audiences as "lower-class swing enthusiasts." In all his Jazz at the Philharmonic presentations Mr. Granz emphasized that he wanted no dancing or unruly behavior when the music was played. He wanted people to listen, just as they might listen to Bach or Brahms.
Mr. Granz was also the founder, in 1955, of Verve Records, with which he recorded the artists whose appearances he sponsored. Under his leadership Verve captured some of the finest jazz performances ever recorded. He sold Verve to MGM in 1960, and the label was subsequently taken over by Polygram. In 1974 he formed a second record company he called Pablo, named after Picasso, whose work he admired and collected and whose friendship he cherished.
Although Mr. Granz never claimed to be anything more than an astute businessman ù "If I didn't make at least $100,000 a year take-home pay, I'd quit," he boasted in 1953 ù he was also a civil rights crusader.
He sought to protect his many black musicians from the abuses of segregation and insisted that their concerts be open to blacks, no matter how segregated the city.
He said he wanted to take Jazz at the Philharmonic to places where he "could break down segregation and discrimination."
"I insisted that my musicians were to be treated with the same respect as Leonard Bernstein or Heifetz because they were just as good," he said, "both as men and musicians."
Ray Brown, a bass player who for many years performed with Oscar Peterson, said: "The whole outfit was like a big family. Black musicians couldn't stay in decent hotels until Norman came along. People forget about what he did."
Mr. Peterson never forgot. He named one of his sons Norman, after Mr. Granz. Mr. Peterson liked to tell the story of the time Ella Fitzgerald was about to be barred from riding in a whites-only taxi in Houston and Mr. Granz had strong words with a police official there. Fitzgerald got her ride. But in that same city Mr. Granz was later accused of running a craps game backstage, for which the police arrested him as well as Fitzgerald, Dizzy Gillespie and Illinois Jacquet.
Throughout his working life Mr. Granz played down his role as a foe of segregation. "I've never tried to prove anything," he told Downbeat magazine in 1952, "except that good jazz, properly presented, could be commercially profitable."
Mr. Granz was an abrupt, acerbic man ù Nat Hentoff, the jazz critic, once called him "the most stubborn and brusque man I have never known" ù who was known to walk onstage when Jazz at the Philharmonic was on tour, announce the artists, then turn on his heel and vanish behind the curtain without bothering to introduce himself.
He had a passion for jazz, for the people who played it and for the people who wanted to listen to it. "I give people in Des Moines and El Paso the kind of jazz they could otherwise never see or hear," he said proudly in the 1950's, when his musicians were touring as many as 57 cities a year.
He began Jazz at the Philharmonic in Los Angeles in 1944 with Nat King Cole and a few others, but it eventually included stars like J. J. Johnson, Benny Carter, Mr. Jacquet, Duke Ellington, Count Basie, Mr. Peterson, Sarah Vaughan, Coleman Hawkins, Charlie Parker, Lester Young, Dizzy Gillespie, Billie Holiday, Buddy Rich, Roy Eldridge, Stan Getz, Flip Phillips and Zoot Sims. It toured the United States and abroad until 1957, when Mr. Granz discontinued the concerts, two years before he moved to Switzerland.
For a time he also directed the professional activities of people including Jonathan Winters, Mort Sahl, Linus Pauling, Dorothy Parker and Shelly Berman. And he persuaded Fred Astaire in 1952 to sing some songs accompanied by Mr. Peterson and Charlie Shavers, recordings that jazz fans still prize.
Mr. Granz was born in Los Angeles on Aug. 6, 1918. His parents had a store that failed in the Depression. As a teenager he befriended Lee Young, younger brother of the saxophonist Lester Young. Phil Schaap, a radio broadcaster who teaches jazz history at Princeton, said that through Lee, Mr. Granz gained entrance to jam sessions and thus became enraptured with the art form and excited about the possibilities of promoting it. Mr. Granz never played an instrument himself, Mr. Schaap said.
After service in the Army Special Services in World War II, Mr. Granz attended the University of California at Los Angeles, where his major was philosophy. As a sophomore he talked the management of the Trouville Club in Los Angeles into letting him mount a jazz concert during the club's slow night. He insisted on listening only ù no dancing ù and an integrated audience. It was a success.
After three years of studying philosophy, Mr. Granz came to feel, unphilosophically, that he wasn't hearing enough good music, and by good music he meant jazz. "I felt there was something lacking," he said. "Nobody was bringing together the great musicians."
Cole was a fine jazz pianist who worked with a splendid trio but not yet a pop star when Mr. Granz telephoned him and suggested that he appear in concert in Los Angeles with Lester Young and Billie Holiday. He agreed, and they all appeared together in Los Angeles Philharmonic Auditorium. The occasion, besides providing good music, raised money for young Mexicans whom Mr. Granz felt had been wrongly arrested in the Zoot Suit riots of 1944.
The concert was a smashing success, and within a couple of years an amorphous, ever-changing troupe of musicians and singers were touring the country under the aegis of Jazz at the Philharmonic. Mr. Granz paid all of them well. Fitzgerald, for example, earned $50,000 a year, then a tremendous sum, from the Jazz at the Philharmonic series alone. It was Mr. Granz who ultimately persuaded her to record her "songbooks" of the works of Cole Porter, the Gershwins and other great creators of American standards, recordings that kept selling into the next century.
There were problems as well as triumphs. At one point Mr. Granz wanted Jazz at the Philharmonic to be booked into Kleinhaus Music Hall, owned by the city of Buffalo, in 1955. But the managers of Kleinhaus were not sure they wanted jazz there. Winifred Corey, director of the hall, said the last time jazz musicians came, "the crowd in the balcony" had "tramped their feet until you could almost feel the building shake." Mr. Granz, facing the prospect of sending his musicians into a rented movie house, canceled the concert, saying that a movie house wasn't good enough. Not for his musicians.
After he started Verve, Mr. Granz began recording all of his stars before live audiences. Most people had never heard recordings made at live performances, and there were questions as to whether the public would buy such stuff. Manny Sachs, then the top jazz man at RCA, said that when he listened to Mr. Granz's recordings, all he could hear was crowd noise. His counterparts at Columbia and Decca tended to agree. But jazz buffs proved them wrong.
Mr. Granz maintained that the executives at the big record companies never did understand how to record the way Verve recorded.
"The major labels have never shaken that studio mind-set of control," he said. "They do a `live' album at Carnegie Hall, yet they put up a forest of mikes onstage. They balance, edit, filter and doctor the tapes. It ends up a studio date with the audience as a prop. It's all a fake."
Mr. Granz is survived by his wife, Greta.
He was often described as retired but never in fact retired. In 1998, after years of silence, he came up with a video showing Charlie Parker and Coleman Hawkins in the 1950's.
Verve presented a gala at Carnegie Hall to observe the 50th anniversary of Jazz at the Philharmonic and Mr. Granz's accomplishments, but Mr. Granz, who felt he had never been given his due, did not attend and said: "They're 20 years too late. I'm not interested in that sort of thing now."
In 1999 Oscar Peterson went to Lincoln Center to accept Mr. Granz's lifetime achievement award since Mr. Granz said he wasn't well enough to attend. Mr. Peterson said, "Norman had an unflagging will and dedication to change the bigoted and hurtful attitude of segregation he had to deal with below the Mason-Dixon line."
LOS ANGELES, Nov. 26 (AP) ù O. C. Smith, best known for singing a Grammy Award-winning rendition of "Little Green Apples," died on Friday in Los Angeles. He was 65.
Full obit at: http://nytimes.com/2001/11/27/obituaries/27OCSM.html
Bo Belinsky, whose pitching prowess as a rookie with the Los Angeles Angels catapulted him to the life of a Hollywood playboy and the fleeting glitter of a 1960's celebrity, died Friday at his home in Las Vegas. He was 64.<<snip>>
Among his fans was Winchell, who wrote of Belinsky's feat in his widely read newspaper column. Belinsky was soon driving a red Cadillac on Sunset Strip and was dating Ann-Margret, Tina Louise and Connie Stevens. He was engaged to the actress Mamie Van Doren.
Full obit at: http://nytimes.com/2001/11/27/obituaries/27BELI.html
