Ken Dryden

I consider CDRs not labeled or listed as such to be false advertising. Anytime I get them from Amazon, I return them for a refund. I have had several CDRs fail, while I haven't had a manufactured CD acquired new fail.

I will spend the money on CDs, I don't use the granite stones I was given a few years back, a waste of good whiskey.

Sonny Lester had a reputation for cutting corners and not verifying things like song titles and composers, while more than once he issued music that he didn't have the rights to release. Both issues can be found with Dave Brubeck: The Quartet.

I don't post as often as I might, but I was so happy to meet HutchFan, who tipped me off to a David Liebman concert that was much closer to me than the one I was considering attending in Nashville. We had a great time and the bonus was that most of the show appeared on the 2 CD set Expansions: The Dave Liebman Group Live. We have attended other concerts and I hope he makes it to the solo piano concert that my wife and I are underwriting on September 11th, which I can't announce here until the last of the paperwork is signed.

I have never understood people who upload current recordings readily available, I would be afraid that the labels, publishers and artists might try to include the uploaders in the lawsuit. I can't believe that Internet Archive is putting a serious dent in anyone's income by uploading used 78 rpm records, especially ones that have never been made available on any other music format. It will be interesting to see how this unfolds. Where else can you get to hear Spike Jones' original version RCA Victor 78 rpm record of "Ghost Riders in the Sky," which has an brief, mild insult hurled at Vaughan Monroe at the end. Unfortunately, Monroe was a major RCA Victor stockholder and got his panties in a wad, so it was withdrawn, edited and reissued without it.

I have a duplicate of the Cables release for sale. Message me if interested.

I did a phone interview with Bob Thiele in May 1995 when he published his memoir, though I don't recall him talking specifically about Flying Dutchman. I don't think that I owned many Flying Dutchman LPs at that time, but here is an excerpt: Ken Dryden At what point did you leave impulse and then eventually start flying Dutchman? Bob Thiele Oh, goodness. I would, I'm terrible on dates, but it would seem like the late 60s, really. And usually I started these, I've had a few labels and nothing ever really worked out financially for the various companies that I formed. And so it always involved the executives again. We'd say, well, damn it, I don't like the way these guys operate. I'm going to start my own company with much bravado and wound up a couple of years later, wishing I hadn't done it, but I think we made some good records. Ken Dryden I agree. The one in particular in Flying Dutchman that stands out in my mind is the duo piano, well, plus rhythm section and Mike Lipskin. Bob Thiele Oh, yeah, I forgot all about that. Oh, Mike was working at RCA at the time. He wasn't really a professional musician, but he loved to play ragtime and he loved Willie the Lion and James P. Johnson, people like that. And to be honest with you, Ken, I don't even know how we came about it, but we did it. ---- As a postscript, when Bob Thiele died, it was discovered that his final label, Red Baron, was a Ponzi scheme with well over 100% of the company sold to investors, so it promptly folded. One artist who recorded for him suspected that he just enjoyed making records, rather than trying to swindle tha money to spend elsewhere.

Gene Hackman didn’t succumb to stardom like so many actors who try to act like they deserve the world. He siunds like a down to rarth guy living quietly with his wife in retirement. I can’t imagine not contacting a parent for two months like Hackman’s daughter. I would love to talk once more to my parents.

A class act, Boris Spassky had Fischer’s number prior to their 1972 match.

Well, the technology to make the recording in a home studio is a lot cheaper these days and some independents are going the CDR route, though I reject paying $15 or more for a CDR. You would have to ask a musician or somebody in the record business about costs of making a CD, I have no idea.

I think Allen Lowe could best address this, but unless you have a label sign you and advance the costs of making the recording, they either have to raise the money themselves or use apps like GoFundMe. The one time I made a gift to support a musician who was planning a recording resulted in a CD that was never made. I wasn't mad, because he threw a liner note assignment my way and interviewed the artist for me, making my work rather easy. I have been told more than once that "nobody's buying CDs" by artists, although I spend a few thousand dollars each year for ones that I don't get as promos.

I have enjoyed the Microscopic Septet’s recordings and those by Joel Forrester and Philip Johnston.

I have lost track of how many musicians whom I’ve interviewed who have quit making CDs because it is not worth the investment of time and money.

The George Duvivier Oral History and Discography revealed an unissued duo date at Rudy Van Gelder's studio on February 25, 1995. Before Williams' death in the summer of 2004, I asked him about this session and he said that he didn't feel that his own playing was that good. A cassette of the session exists in the James Williams Archives of William Patterson University and I just sent them a copy of my circa November or December 1993 phone interview with James Williams. Unless I dig around and find the original reel tape, I may not be able to date it exactly. The session includes: Common Knowledge Old Time's Sake For My Nephews Basically Simple The Lovers' Celebration Time After Time Edward Progress Report Do Nothing Til You Hear from Me Folk Song 'Round Midnight Our Love Is Here to Stay Hopefully Rudy Van Gelder's archives include the original master tape.

I recall that Barbara Dennerlein recorded a solo organ concert that she issued on CD.