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What vinyl are you spinning right now??


wolff

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If you don't have the original or a good cd, the last resort is an expensive vinyl repressing of some sort. This stuff gives me chills. Music rules.

I like to consider it as an occasional dalliance only. mrwinky.gif As I said, original material is always my first preference. But I also have an audio itch that sometimes demands to be scratched.

As far as music rules, yes, no doubt of it. There are folks who won't listen to CDs; others won't listen to FLAC/MP3; others who won't listen to vinyl. Restrictions like that get in the way, Whatever gets me to the music is fine with me. The music, not the medium, is the message. Totally agree on that.

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Glad you like the blog Leeway--thanks! I just edited the post noting that the LP is mono and the CD is stereo--I wrote the post pretty hastily last night and wasn't very clear. Check them out on headphones if you can, both sound good...

I'm more interested in the old/original pressings as well, but I ended up with several of these MM titles as part of a collection I purchased. I really enjoyed them so I picked up this Lee Morgan when I saw it for a decent price. I think it's a very good option for Blue Note titles that are exceptionally expensive, so I'm going to keep my eyes peeled for more. One of my local records shops had a bunch of these in stock for months, including some Mobley and Grant Green stuff I'd love to have, but they are expensive LP's (for me anyway), so I passed. They ended up selling most of them on ebay--oops....

Also the couple Liberty blue/white label pressings I have seem solid, maybe that's a good option too. Also starting picking up the old Blue Note CDs when I see them cheap--usually $4-$7--can't go wrong there.

Edited by vinyltim
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The Right-to-Profit State and All That Jazz. This not-very-promising-sounding promotional LP, recorded in 1967 and put out by the Louisiana Department of Commerce and Industry, is one of my favorite New Orleans albums of the 60's. The band is fabulous - Alvin Alcorn, Jack Delaney, Harry Shields, Armand Hug, Danny and Blue Lu Barker, Chester Zardis and Louis Barbarin. Harry Shields, unlike his more famous brother Larry, never left New Orleans for any appreciable length of time, but I think that he's a far superior player to Larry; one of the greatest of all New Orleans clarinetists, in fact. He has a hair-raising solo on "Tin Roof Blues;" its impact makes me think of Sonny Rollins' "Misterioso" solo from Volume Two.

Blue Lu Barker sings one song: "Basin Street Blues." She told me that she had to leave the session early to close on the Sere Street house where the Barkers lived the rest of their lives. I spent a wonderful morning there in 1992.

Edited by jeffcrom
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