Well, here's a YouTube file for "Cement Mixer" which Ty's page dates to
4-25-1946. The mx. is T716, and it sure doesn't sound like a Decca master,
nor even the kind of material
they commonly recorded for Decca; a little more of a jivey feel to this one.

http://www.youtube.com/watch?v=XO6gRp8YTPY

UD

On Mon, Oct 1, 2012 at 3:13 PM, Tom Fine <[log in to unmask]>wrote:

> Hi Milan:
>
> I know all the stuff about the Mosaic set. That wasn't my question. My
> question concerns Lunceford's many sides for Majestic Records, 78RPM sides
> released in the late 40's.
>
> -- Tom Fine
>
> ----- Original Message ----- From: "Milan P Milovanovic" <
> [log in to unmask]>
> To: <[log in to unmask]>
> Sent: Monday, October 01, 2012 2:50 PM
> Subject: Re: [ARSCLIST] speaking of Jimmy Lunceford
>
>
>
>  Tom,
>>
>> I am no way Linceford expert, but like his music very much.
>>
>> As for Mosaic set, these are Decca and World Transcriptions sides:
>>
>> "Record label abbreviations are as follows: Br for Brunswick; Cir for
>> Circle; Cl for Classics,
>> Con for Conifer; Cor for Coral; Dec for Decca; FTR for First Time
>> Records; MOJ for Masters
>> of Jazz and WT for World Transcriptions"
>>
>> Quotation originated from here:
>>
>> http://www.mosaicrecords.com/**discography.asp?number=250-MD-**
>> CD&price=$119.00&copies=7%**20CDs<http://www.mosaicrecords.com/discography.asp?number=250-MD-CD&price=$119.00&copies=7%20CDs>
>>
>>
>>
>> I think that most of the material originated from metal parts and good
>> test pressings and similar carriers.
>>
>> However, I listened to whole set thoroughly and found rare samples of
>> sound (and that is what you will expect from metal parts transfers).
>>
>> Furthermore, most of the recordings are almost always "modulated" with
>> very "small" impulse noise that is pronounced distinctly, so I found it
>> very hard to listen it through headphones. IMHO, of course.
>>
>>
>> Also, on already above mentioned link it is clearly described that:
>>
>> "This set brings together all the Decca studio sessions by Jimmie
>> Lunceford and his Orchestra as well as most of the radio transcriptions
>> made for the World Broadcasting System (A Lover's Lullaby, from Session II
>> has eluded us and therefore is not included here). The discs used for this
>> release came from commercially released 78s and vinyl test pressings as a
>> majority of the original Decca metal parts no longer exist in the Universal
>> Music vaults. The 78s that were transferred were not only from American
>> Decca pressings but also British and German Brunswick as well as Australian
>> and British Decca pressings that were made available to us from the
>> collections of the Institute of Jazz Studies and Leon Dierckx. As for the
>> vinyl test pressings, we had the good fortune of having access (through
>> engineer Ted Kendall) to the collection of the late John R.T. Davies. We
>> are also indebted to Steven Lasker who provided us with the unissued -C of
>> Pigeon Walk."
>>
>>
>> Best wishes,
>>
>> Milan
>>
>> ----- Original Message ----- From: "Tom Fine" <
>> [log in to unmask]>
>> To: <[log in to unmask]>
>> Sent: Monday, October 01, 2012 7:40 PM
>> Subject: [ARSCLIST] speaking of Jimmy Lunceford
>>
>>
>>  First of all, Dave Lewis, thanks for reminding me of the Mosaic set.
>>> While admittedly more Lunceford than any sane person needs, it's got all
>>> the good tunes well-restored, so I sprung for it.
>>>
>>> Now a question -- were Lunceford's Majestic sides new recordings of
>>> material already issued on Decca (for the most part, at least based on
>>> matching titles), or were these reissues from Decca masters? Any Lunceford
>>> experts on-list?
>>>
>>> -- Tom Fine
>>>
>>> ----- Original Message ----- From: "David Lewis" <[log in to unmask]>
>>> To: <[log in to unmask]>
>>> Sent: Saturday, September 29, 2012 11:40 AM
>>> Subject: Re: [ARSCLIST] Why Does Take 1 of Jimmy Lunceford's "White
>>> Heat" Sound This Way?
>>>
>>>
>>>  Carl,
>>>>
>>>> It's the slap back that interests me most. Here is a link to the
>>>> "normal"
>>>> one: http://www.youtube.com/watch?**v=yAqC1hSmNY8<http://www.youtube.com/watch?v=yAqC1hSmNY8>
>>>>
>>>> On Sat, Sep 29, 2012 at 10:23 AM, Carl Pultz <[log in to unmask]>
>>>> wrote:
>>>>
>>>>  PERMISSION DENIED says mediananny. This is the USA.
>>>>>
>>>>> -----Original Message-----
>>>>> From: Association for Recorded Sound Discussion List
>>>>> [mailto:[log in to unmask]**GOV <[log in to unmask]>] On
>>>>> Behalf Of Milan P Milovanovic
>>>>> Sent: Saturday, September 29, 2012 10:15 AM
>>>>> To: [log in to unmask]
>>>>> Subject: Re: [ARSCLIST] Why Does Take 1 of Jimmy Lunceford's "White
>>>>> Heat"
>>>>> Sound This Way?
>>>>>
>>>>> Here is cleaner version of the very same take:
>>>>>
>>>>> http://www.mediafire.com/?**fxidx912papc04b<http://www.mediafire.com/?fxidx912papc04b>
>>>>>
>>>>>
>>>>> ----- Original Message -----
>>>>> From: "Carl Pultz" <[log in to unmask]>
>>>>> To: <[log in to unmask]>
>>>>> Sent: Saturday, September 29, 2012 3:08 PM
>>>>> Subject: Re: [ARSCLIST] Why Does Take 1 of Jimmy Lunceford's "White
>>>>> Heat"
>>>>> Sound This Way?
>>>>>
>>>>>
>>>>> > There's a lot going on there Dave, with the stereo LP dub adding some
>>>>> > artifacts. Do you mean the scrape-sounds that are modulated by loud
>>>>> peaks
>>>>> > or
>>>>> > the sort of slap-back effect, most noticeable on the drums? Might
>>>>> help to
>>>>> > hear take 2.
>>>>> >
>>>>> > -----Original Message-----
>>>>> > From: Association for Recorded Sound Discussion List
>>>>> > [mailto:[log in to unmask]**GOV <[log in to unmask]>] On
>>>>> Behalf Of David Lewis
>>>>> > Sent: Saturday, September 29, 2012 8:11 AM
>>>>> > To: [log in to unmask]
>>>>> > Subject: [ARSCLIST] Why Does Take 1 of Jimmy Lunceford's "White Heat"
>>>>> > Sound
>>>>> > This Way?
>>>>> >
>>>>> > I have parked a file of it here:
>>>>> > https://www.box.com/s/**6hq39rgxp0nd53pnty0n<https://www.box.com/s/6hq39rgxp0nd53pnty0n>
>>>>> >
>>>>> > This comes from X LP LX 3002, which was issued in 1953. It is not
>>>>> one of
>>>>> > Ethel Gabriel's enthusiastically skewered "simulated stereo"
>>>>> remixes, but
>>>>> > this weird flanging effect is in the mono original.
>>>>> > I used to have a buff Bluebird that had this very take on it, and
>>>>> when I
>>>>> > listened to it, I would think "What in the world.....??"
>>>>> >
>>>>> > It sounds like it could have been the result of two mikes out of
>>>>> phase,
>>>>> or
>>>>> > two takes cut into the same platter, but if that was the case you'd
>>>>> hear
>>>>> > artifacts in the trumpet solo, not the case here. There
>>>>> > is a more common take 2 that sounds normal. Mx. is BS-81324
>>>>> according to
>>>>> > the jacket notes of LX 3002, recorded 1-26-1934.
>>>>> >
>>>>> > Uncle Dave Lewis
>>>>> > Lebanon, OH
>>>>>
>>>>>
>>>>
>>