Ahmad Jamal Interview (Part 1 of 1) [Listen 34:00] – Reading The Stop Signs With Ahmad Jamal S03 Ep09
Special Guest: Ahmad Jamal - is without question one of the greatest names in jazz living today. His lyrical and minimal approach combined with his otherworldly sense of timing and innovative use of silence set him apart in the jazz world (or as he prefers to call it - American classical music). Ironically, it was a left-field hit in 1958 with “Ahmad Jamal at the Pershing: But Not for Me”; a live album that reached number three in the pop charts which set his career spinning in diverse and broad directions. First, by making some of the hardcore jazz critics question his loyalty to the jazz world because charting in the pop charts was frowned upon and secondly, and more importantly, it changed his career because the album grabbed the attention of a trumpet player by the name of Miles Davis. In fact, Davis openly talked about borrowing heavily from Jamal and his unique use of silence within his playing. He often covered Jamal's repertoire like “New Rumba” and standards from his set like “Autumn Leaves” and “But Not For Me.” Jamal’s career has alway remained strong and consistent. In fact, at age 81 he has released his strongest albums in years, harking back to his time with Chess and Impulse Records. His latest album, Blue Moon, won second place for the best jazz album of 2012 in the readers' poll choice for DownBeat magazine and is widely considered a modern masterpiece.
12 cheap and easy tips to instantly improve your record collection
1. Putting dust cover jackets on your records
Nothing says I care more than a guy who has his collection all wrapped up.* Taking records in and out from storage can be quite harsh to a collection when not stored in plastic. The plastic record cover sleeves avoid cover damage, the spread of any mildew or dust and allow you to try tip 3.
2. Protective paper or plastic record covers
This is the best way to avoid scuffs on the outside and/or worse undesirables from getting into the grooves. You will often come across cheap records where the protective inner cover is missing. My advice is inspect before buying, consider cleaning it before exposing it to your turntable, and invest a buck to protect that record. I know you may have got it for a buck, but you need to consider your record needle as well.
3. Combine tip 1 and 2
Store the vinyl record outside the dust cover but still inside the vinyl covers – Ever noticed the first place to have damage is the bottom or sides of the cardboard record cover. When your record moves, the sharp hard vinyl record moves inside the cardboard sleeve, cutting into it. I avoid this by storing the vinyl records and cardboard sleeves separately. I still put the sleeve, record, and any artwork that the record has inside the dust cover jacket side by side. I still have the record sleeve covers protecting the vinyl from dust and finger prints.
4. Store them vertically
The more severe the angle, the more damage you are causing to your records. Like most everything else in life, time is not your friend, and storing your records on an angle will eventually cause your records to warp. Laying them flat like a pizza is also damaging and can also cause warps.
5. Don’t over crowd your shelf
I know I’ve done it in the past. You are trying to squeeze that record in an overcrowded space and you end up bending the cardboard. The best way to avoid this as well as avoiding putting a record imprint from another record into on the record cover.
6. Buy yourself a nice Cleaning brush
I always clean the surface of a record before I drop the needle. Another tip is to be sure not to touch the cleaning brush bristles (no matter how soft and luxurious they feel) otherwise, you risk transferring the oils from your fingers onto your records.
7. Get yourself a nice tiny brush to clean off the dust that eventually builds up on the needle
Most high end stereo stores will have one of these specific brushes for cheap.
8. Buy needle cleaning fluid to clean your record needle
No matter how clean or new the records you play you will accumulate grime and dirt where the needle runs along the record. The liquid doesn't cost much and will probably last you the rest of your life. One note, be sure that you only clean the tip and not touch any of the movements further up by the cartridge body itself.
9. Keep records out of direct light
I only say this because I had it happen to me. It sounds obvious, but it can happen to you too. I had a record pulled out getting ready to put it on next; carelessly I set it in direct light by a window thinking that I wouldn't be long. I got distracted and when I came back to the record was a warp in a ripple effect. Sunlight can also cause fading, dulling the records covers as well.
10. Even moisture and Temperature
Garages and sheds are far from ideal and should be avoided whenever possible. Swings in temperature can cause your records to become warped (especially in high heat). Moisture is another thing altogether. Mildew will spread through records like mold in a loaf of bread. Plastic is only a partial solution to quarantining these bad boys the best solution is take it as a learning lesson and throw them out. Cleaning is questionable at best and in my opinion, not worth the risk.
11. Dust and Smoke Free
When I’m buying used records, nothing sets off the alarm more than seeing dust on a record or noticing that the record has an odour. Dust and smoke particles act like sandpaper on your turntable, damaging your needles and potentially all the records after it. Quarantine that puppy and say goodbye..
12. Record Cleaners
To be honest, I haven’t actually tried all types or configurations of record cleaners that are out in the market today. Personally, I’ve had mixed results with cleaning records and recommend it with a caution. When dealing with an obviously dirty record, cleaning really helps; with new records the verdict is still out. If you want to try cleaning a record to test it yourself I have a cheap alternative that you can try. All you need is a broken record player, a tooth brush, Nitty Gritty Cleaner (buy a small amount at first) and a hand-held modified shop vac. You place your dirty record on the table put the Nitty Gritty Cleaner on it, clean the surface and inside the groove with the tooth brush then carefully vacuum the liquid. Place the record on a clean surface to dry then repeat for side two when side one is dry. The downside to cleaning records is that I find the process slow, awkward to dry and that multiple cleanings is required in order for optimal results. That said, official record cleaners seem to be the best and if I had one I would probably clean more often. You also need to put a piece of soft rubber on the hand vac to avoid causing surface scratches.
*Practice safe record collecting and help stop the spread of bad moldy record covers and other RDP’s. (Record Damaging Practices)
I would love to hear back from you about your experience with record cleaning and tips of your own. Please feel free to leave a comment.
FULL CONCERT with Joey DeFrancesco live at the Old Mill Inn [Listen 1 hr 52 min] S02 Ep07 (3 of 3) Channeling Miles with Joey DeFrancesco
Interview Date: March 25, 2012 @7pm EDT
Special Podcast: Joey DeFrancesco Live at The Old Mill Inn
Special Guest: Joey DeFrancesco (Part 3 of 3) Nicknamed “the finest jazz organist on the planet,” Joey DeFranceso and GTV present you with an exclusive and in-depth interview, plus his full concert performance in Toronto.
Coming from a long line of established organ players, DeFrancesco started his career off as a child prodigy (starting at age 4) playing with all the greatest organists in the world. He has developed his skill to the point where he dominates the Hammond B3. When DeFrancesco was 17, Miles Davis called him up to ask him to tour with him and play on his 1989 album, “Amandla.” Since that time he has gone on to play with many other "who’s who" in the jazz world, and often being paired with some of the greatest guitarists in jazz, such as; Pat Martino, Paul Bollenback, Jimmy Bruno, Dave Stryker, and John McLaughlin. In this podcast, listen to his full concert performance at The Old Mill Inn in Toronto. It's only available here at GoingThruVinyl.
Check out Joey DeFrancesco's page http://www.joeydefrancesco.com/
Joey DeFrancesco's band for the performance:
He is known as the drummer and founding member for the Toronto based band "5 after 4" and is an absolute monster in this show. In between sets (about halfway through) you can hear Rezza say to Joey something about "getting all emotional" about Joey's ablity to channel Miles Davis with his horn. Although I couldn't agree with Rezza more, I think Rezza is channeling other famous jazz players himself (notably, Art Blakey). I also thought I might comment on the band: the night of the taping, I happened to be pretty nervous and was overly worried about placing the recorder in the right spot to record the show (I only had one shot at it). Vito Rezza and the rest of the band were really kind and helpful (Rezza was as cool as they come). Thanks for your help; the recording came our great!
Quinlan is one of Canada's best jazz guitarists and teacher. In this set, his playing is as absolutely cool, smooth, and refined (cool as a cucumber salad in a Canadian winter). He is both a session player and the head of the Guitar Department at Humber Collage in Toronto. He has played with Chet Baker, Freddie Hubbard, Jimmy Smith, Michael Brecker, Dave Holland, Maria Schneider and Dave Liebman. Needless to say, this guy can really play.
Lastly, I'd like to thank the Old Mill Inn for allowing me to record there. If you are in the Toronto area you might want to check the schedule of the Inn to see who is playing; they have some of the best jazz acts in the city. The rooms are nice, the food is great, the decor is what you'd expect of a classy jazz club. http://www.oldmilltoronto.com/
The Soul Jazz Chayot Ha Kodesh and debate primer
It seems that a heated debate occurs whenever a genre of music gets a label attached to it. It gets fuelled by whichever adherent or so-called expert who chooses to pick up the sword and dive into what defines the genre, what constitutes it, and what nuance necessarily makes someone or some composition excluded from the genre. Such is the case with soul jazz and hard bop. Whether soul jazz is actually hard bop and the reasons why or why not is not going to be debated here. What I want to focus on here, is some of the history and highlights. Despite which side of the battle lines you fall, the legends and landmarks introduced here have left an impact regardless where you wish to pigeon-hole them. For those who know them already, take it as a tribute and a reminder to pull them out again for a spin on the turntable, for those who don't know everyone on the list, take it as an introduction into the highlights of what jazz was producing from the glory days. For those who are discovering (or rediscovering) the Beastie Boys, you may want to pay attention; the impact some of these artists have had on the Beastie Boys' music is pretty distinct. From “Groove Holmes” from Check Your Head to Jimmy Smith's “Root Down” and a smattering of samples throughout, the degree of separation is a small one from the soul jazz greats to the Beastie Boys
Joey DeFrancesco Interview [Listen 30:40] – S02Ep07 (1 of 3) – Riding the Big Wheel with Joey DeFrancesco
Interview Date: March 25, 2012 @12pm EDT
Special Guest (Audio) Joey DeFrancesco (Part 1 of 3): Nicknamed “the finest Jazz organist on the planet,” Joey DeFranceso and GTV present you with an exclusive and in-depth interview, plus his full concert performance in Toronto.
Coming from a long line of established organ players, DeFrancesco started his career off as a child prodigy (starting at age 4) playing with all the greatest organists in the world. He has developed his skill to the point where he dominates the Hammond B3. When DeFrancesco was 17, Miles Davis called him up to ask him to tour with him and play on his 1989 album, “Amandla.” Since that time he has gone on to play with many other "who’s who" in the Jazz world and often being paired with some of the greatest guitarists in Jazz such as Pat Martino, Paul Bollenback, Jimmy Bruno, Dave Stryker, and John McLaughlin. In this podcast we talk about his early years, playing with the greats, and his introduction to Miles Davis
Special Guest (Print) John Broven (Part 1 of 1): I have been in contact for quite a while with John Broven, the author of one of my favorite music books, “Record Makers and Breakers: Voices of the Independent Rock ’n’ Roll Pioneers.” The book chronicles the history of the independent rock’n’roll record industry, covering the beginning in the 1940’s through to the 1960’s. It tells the amazing story of the record industry; it covers topics like how and why we went from the 78rpm to the 45rpm format, the history of the independent music scene, the musical significance of the jukebox, and even how the record store was born. Through his research, he was able to talk to, interview, and recount the amazing stories of people like Marshall Chess (Chess Records), Jerry Wexler, Ahmet Ertegun, and Miriam Bienstock (Atlantic Records), Joe Bihari (Modern Records), Art Rupe (Specialty Records), Sam Phillips (Sun Records), and a ton more. He goes into topics like the trade magazine “Cash Box,” Payola, and Nashville radio station WLAC, and he describes how they affected how we listen to music today. We are both hoping to post a full written interview to the site sometime in the future (when he gets off his world tour for his book). Until then, he was kind enough to send me an unpublished questionnaire on "Record Makers and Breakers" just after his book came out.
I agree that the indie record business is “an ode to the genius of American capitalism.” Somebody told me recently, “This is a great American story.”
I think it’s fair to say that as the interviews and research progressed, I realized:
(1) Just what a small industry the indie record business was at the start – I called it a “cottage industry”;
(2) How the record men had to learn the business from scratch: not just the art of recording but also building pressing plants themselves, setting up distribution systems, learn publishing, etc. etc. (see Art Rupe's wonderful new rules, chapter 25).
(3) How everybody seemed to know each other and worked together to a large extent;
(4) How the nascent industry was dependent upon several integral cogs in the machine i.e. record distributors, jukebox operators and distributors, radio/television, disc jockeys, promo men, retail outlets, trade magazines etc. It wasn’t just about the record makers – or indeed the artists.
(5) I was aware of the cover version syndrome and like everybody else put the blame on the "nasty" major labels, but then I began to understand that indie publishing companies were pitching their hit songs to majors – and recorded covers themselves. So it wasn't all one-way traffic.
(6) Must admit I didn't realize the full extent of the majors poaching the indie hit artists until I started listing the artists and the labels.
* Tell me about the importance of the jukebox market (compared to radio and retail).
Just to say that, as stated in the book through New Orleans’ Cosimo Matassa early on, the jukebox operators were terribly influential in dictating the sound of the record, also the length of the record – the shorter the record, the more plays. Basically jukebox play was free promotion – and represented bulk sales to the indies. The jukebox people, whatever their business practices, were very important cogs in the rock ‘n’ roll machine.
March 16, 2012
Interview Date: August 24, 2011 @7pm EDT
Special Guest: Jimmy Scott (a.k.a. "Little" Jimmy Scott) the Jazz Legend who sang in the early days for Roost, King and Savoy Records. He is famous for among other things, singing the most beautiful ballads in the most hauntingly high unwavering alto voice and for his unique relaxed behind the beat delivery. He is known in jazz circles as having both a tragic and inspirational life and career. Marvin Gaye once said “his entire career he has long to sing ballads... with the depth of Jimmy Scott” Frankie Valli called him “A towering influence on a whole generation on young singers” and Lou Reed said that “he is the greatest jazz singer in the world.” Jimmy Scott who is known by some as “Little” Jimmy Scott has work with some of the most iconic people in the music industry people like Ray Charles, Quincy Jones, Billy Holiday, Stan Getz and Charlie Parker just to name a few.
Jimmy Scott, Herman Lubinsky and Savoy Records
There are days when I turn on the TV or check the news that I get a sudden gut-wrenching feeling of anger mixed with defeat. Hearing the banks and Wall Street unapologetically exploiting and stealing from the masses I get miffed. Yes, there are days