Allan Songer

Come over here and give me a big, fat juicy kiss, you he-man you!

But they DO make them like they used to! You just have PAY for it! Everyone complains about the quality of stuff going to hell, but they keep snapping up those $79 Chinese DVD players. The old adage it truer than ever--you get what you pay for. I buy quite a bit of new music on CD. My CD player is two years old ( and was made in the USA!) My wires are almost new (and were made in the USA)! I go out and listen to live music at LEAST 5 times a month--usually 6 or 7. I don't know of any better way to support musicians than to pay to hear them perform live. Last night I went to hear Joey Defrancesco. Tonight it's Teddy Edwards and a 17-piece big band. Wednesday it's the John Heard Trio and then Saturday night Elvin Jones. That's four times in eight days. And I might have a bunch of old records that are worth a lot of money, but I PLAY ALL OF THEM--and I paid very little for most of them. I like hunting them down, trading, selling, buying. It's a FREAKING hobby like anything else. And I've always been attracted to vintage stuff--my house is full of art and antiques and I collect vintage cars and trucks as well. And take a close look at those Music Hall tables and tell me they're carefully made. They might work OK, but they're still junk.

The comment about the 3 and 5 being "junk" has NOTHING to do with how they SOUND! I HAVE NEVER HEARD EITHER ONE!!! I was only commenting on the quality and type of construction/materials used--that's all. If they sound good, that's GREAT! I'm all for it! I was only commenting that for about the same amount of money or a little more you can score a much higher quality USED table. I did not mean to offend ANYONE. Sorry. All of you who are spinning LPs on a regular basis have all my respect and admiration!!

As Bird said of Hodges: "He's the Lily Pons of the alto saxophone." I have ALL of the Norgran/Verve Hodges LPs and I listen to them a lot! Just last night I was spinning "Duke's in Bed." This one has a killer "A Train" and some really great vocals from Ran Nance on "Just Squeeze Me." And a killer Hodges solo on EVERY cut.

The truly GREAT Coleman Hawkins stuff is all pre-war and pre-hifi. I only suggested the later recordings because the initial request seemed to be asking about the "bebop" or 50's and 60's small group recordings. My pre-war favorites include ALL the 1920's Fletcher Henderson recordings, the Chocolate Dandies sessions from 1930-31 and the sides cut with Red Allen right before he left for Euorpe in 1934. While some of the European recordings are good, they certainly don't account for what happened when Hawkins returned in 1939. The "Body and Soul" 78, which was a MASSIVE radio and juke-box hit, is a quantum leap forward in the progession of American music. It seems to have come from left field--the first truly "modern" jazz record--the Hawk improvising over the chord changes of Body and Soul but the original tune is all but OBLITERATED. This is what Parker and Gillespie were to do with a vengence some 5-6 years later. This is one of the five or six most important recordings of the 20th century. So, by all means START here, but if you're looking for later Hawkins (which the original question seemed to imply), try the ones I suggested.

If you are looking for some "hi-fi" Coleman Hawkins, then I think you should start here: http://www.amazon.com/exec/obidos/tg/detail/-/B000003N8C/qid=1036175559/sr=1-1/ref=sr_1_1/103-4212043-4417440?v=glance This is the best of the late Hawkins--a terrific set with a VERY sympathetic rythym section. Hawkins' solos in this period generally have that "carved from granite" quality-big, heavy, even ponderous, but here he tempers that somewhat and thus this is one swingin' session. If you can't find that one, try this: http://www.allmusic.com/cg/amg.dll?p=amg&uid=SEARCH&sql=Aav3tk6sxlkrd You won't go wrong with either one-- if fact, BUY BOTH OF THEM!!

You're right. But I tend to leap off cliffs and usually hit the water. I even made a Decca cartridge sound good on the Black Widow/LP12--at least I think it sounded good. And I've never seen the 7 in person, only the 3 and 5-- and I think both of them ARE pieces of junk! I trust you when you say the 7 is not. There is so much on-line help for the LP12--anyone with any mechanical sense, good ears and PLENTY of time can set up an LP12 as long as it ISN'T tweaked--plus it's such a ball to take it apart and put it back together--the self-satifaction in making it work is worth the time spent. And then there's the hunt for the right tonearm and cartridge! I always seem to forget than many here have NEVER fooled around with turntables--that this is all new to them. We all have to start somewhere and I agree that setting up a 20 year old Linn with no prior expereince is like getting behind the wheel of a 1938 Bugatti to take driving lessons. Forgive me.

For example: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=1393132267 This is a lot of turntable for very little money.

I bought my Linn used (I buy almost EVERYTHING I own second-hand!) in about 1985 or so--it was a really early model, mid 70's? It came without a tonearm, but I had an Infinity Black Widow and an SME 3009-III left over as spares from the SOTA I had just sold, and I ended up using the Black Widow. This LP12 had NO upgrades at all. I had the Linn mounted on a shelf in those days. I seemed to be messing around with that table/arm ALL THE FREAKING TIME--it's a tweaker's dream (or nightmare?). But it's a great deck----I didn't think I'd ever sell it until I started messing around with the Thorens and the SPU. I still think old Linns are an amazing value--I see them sell for LESS than one of those crappy Music Halls (sorry--but I think they REEEEK of cheap) all the time. I don't have any idea why anyone would buy a new Rega or Music Hall when a nice, well-cared-for LP12 can be had for a lot less.

Back in the 1980's when I owned and enjoyed an LP12 for many years I never even thought about changing out the mat--but then in those days I used OEM interconnects and zip-cord as well! I've been using an old Thorens TD-124 (1950's vintage) for many years now and one of the first things I did was remove the old, hard rubber mat that came with it. At first I just put the LP on the aluminum outer platter, but then started trying other mats, including sorbothane (which really muddied things up in my opinion)--eventually I went back to NO mat at all. But then a couple of years ago one of my pals who uses a Garrard 301 (similar in some ways, but INFERIOR to the TD-124) reported having GREAT success with the Ringmat. I ordered one from England and was STUNNED when I opened the package. SEVENY-FIVE DOLLARS for a piece of heavy paper with some thin cork rings glued to it??? I felt totally ripped off!! That is until I slapped it on the table and put "Art Pepper Meets the Rythym Section" on top of it and sat back for a listen. All I can say is that it hasn't been off the table since. I fugure I paid five bucks for the material and seventy bucks for the "carboard engineering." With the Ringmat in place, the music is lively, dynamic, and IN FOCUS--it provides the liveliness of using no mat with the smoothness of rubber mat. The Ringmat just flat-out WORKS on the Thorens. I have NO idea how it it might work with any other table.

I bought a pair of Belle Klipsch from a frat-house at USC about 10 years ago. I'll bet they saw even more cool stuff than the strip-club speakers. Hazing and all, you know. By the way, I bought the pair for like $400 or something crazy cheap like that. You can imagine what they looked like.

I've seen early 70's vintage Cornwalls with mud magnets on the woofers, so I think the change from Alnico on the woofers must have been in the late 60's or early 70's?

Actually, I think three fingers of Bookers is a MUCH better tweak than a whole bottle of red wine. Even a nice bottle of 1947 Petrus or 1970 BV George Latour isn't as satisfying to me as an AUDIO tweak than three ounces of really great Bourbon. Good red wine can be such a treat in an of itself that it might DISTRACT you from the music, whereas Bourbon, even the BEST Bourbon will only add to the pleasure of listening. That's my 2 cents.

Joe Henderson! Like many of us, I was first introduced to Joe Henderson through his BLISTERING solo on Horace Silver's "Song for my Father." This was about 30 years ago for me and I've always held Joe (RIP) in the highest esteem. I saw him a couple of years ago at Catalina's here in LA on a rainy, cold Wednesday night--there were no more than 25 of us there that night and he gave us all he had--one of the best peformances I've ever heard---period! I love all of his Blue Notes, but my favorite has to be "Our Thing." Of course he played on about 40 other Blue Note dates lead by others and was always superb. What a player. Tone like nobody else. He died way too young.

By the way, here's my jazz list again (100). I did it about a year ago--I think I'd change it if I did it again today--add 5 or 6 and delete the same, but the core would remain. http://www.rjcigars.com/Mens%20Almanac/BachelorPad/bachelor_pad.htm

By the way, Bill Perkins is playing Charlie O's with the John Heard trio (Heard on bass, Roy McCurdy on drums and a PHEEEENOM named Danny Grisset on piano)on Sat., Nov. 30 here in Los Angeles. No minimum, no cover. Perk is about 80 now, has two artifical hips, can't see very well, and has recovered from cancer TWICE, but he still plays beautifully. Every time I hear him live I wonder if it will be the last time.

I might have a extra copy or two of the John Lewis/Bill Perkins LP. The best extra one I have is a 1958 pressing (World Pacific, deep-groove) in VG+ or better with a decent jacket (taped seams if I remember correctly). It has almost no groove wear, just a few hairlines. Nice copy, very little noise. If you're interested I'd sell it for $25 incl media mail shipping. Allan

I dunno about Merrill's "voice" being all that technically great--she's certainly no Sarah Vaughn or Ella or Carman McRea, that's for sure. What I get off on in listening to Helen Merrill is that she swings like a Bennie Green trombone solo--she uses her voice like a Jazz instrument without resorting to the pyrotechincs of scat (don't think she has the voice to do it anyway). Check out her 1960's recordings with Dick Katz on Milestone--if there were ever a more pure example of the female voice as jazz instrument I don't know of any--with the EXCEPTION of just about anyting from Billie. She's on another planet. If you want to hear some later Merrill from the 90's-I suggest you check out "Clear Out of This World" (w/ Wayne Shorter, Red Mitchell, Tom Harrell and others). This is the best jazz vocal album of the last 15 years and it came from a then 60 year old Merrill who had lost almost all the "prettiness" in her voice. But man, oh man--this woman is a JAZZ musician.

Last night: "Tenor Conclave" -Coltrane, Mobley, Sims, Cohn w/ the Red Garland trio--a classic Prestige blowing session. "Behind the 8-Ball" Baby Face Willette-- one of the true Hammond B-3 gods. His version of "Closer Walk with Thee" on this Argo LP is incredible. "The Latin Bit" Grant Green--An early 1960's Latin workout on Blue Note. "Here 'Tis" Lou Donaldson's first foray (1961) into "Soul Jazz" with Willette on the B-3. Blue Note. "You've Got A Date with the Blues" Helen Merrill--a great 1959 LP on MetroJazz from my favorite jazz singer. Any other Helen Merrill fans out there?

Was cruising through ebay and came across these: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=1391470070 I'm drooling. Anyone know ANYTHING about these? I admit I have never seen one.

All McIntosh tube amps are fixed bias. My experience has been that they almost NEVER need to be fooled with, even when 40 years old. Values should be 400 B+ and -22 bias if I remember correctly. You can replace the resistors in the bias line, but I've only seen a couple of amps that needed this. I suggest you send the amp to a qualified tech and have them check it out.

I have KOB in many formats--a mint original 6-eye mono, a VG+ or better 6-eye Stereo, the Classic Records "speed corrected" 45 rpm LP set, and a circa 1995 CD for the car. The mono 6-eye is the BY FAR the best sounding version in my opinion.

I own about 200 various jazz 78's. Lots of Dial, Savoy, Prestige, Mercury and even a few Pacific Jazz and Contemporary. I spin them on my old, reliable TD-124. I do this a few times a year--it's a pain to remove the SPU and set up the Shure 78 cartridge (been looking for a "78" mono SPU for YEARS--they are out there, but as scarce as hen's teeth). I'll spend 2-3 days playing 78's and then go back to the LP set-up. In excellent condition, these 78's can REALLY sound spectacular. My copy of "Up in Dodo's Room" on Dial is in MINT MINT MINT condition and it sounds better than ANY reissue I've ever heard by a factor of about TEN. Even in "OK" condition these old 78's are a real treat. 78's are a reall ball.

Just take the back off and remove all of the horns/drivers and X-over and remove a ton of screws and there you are! It's a REAL pain in the arse. Allan

So, everyone chirp in here and tell us: What's the most you've ever paid for an LP? Me? $300. Twice. First one: Duke Jordan-- "Flight to Jordan" Blue Note 4046 (MINT cond.-- the only one I've ever seen--had to buy it!) Second one: Art Pepper-- "The Return of Art Pepper" JazzWest JLP-10 (MINT virtually "unplayed" copy) Foolish? Sure. Regrets? None.