All Activity

This stream auto-updates   

  1. Past Hour
  2. 'Duo Exchange', absolutely. 'Live At Slugs' dependent on your threshold for bootleg quality live recordings - I tend to find these can add to the enjoyment and this is a case in point. But if you're bothered by distant pianos (except when soloing - it's almost as if someone's moving the mic closer!), overly prominent drummers and horns fading in and out then don't go near it. To me it sounds like a live recording ESP rejected on the grounds of SQ . The music's terrific in most parts, warts 'n' all. Nicely packaged. Listening now to the new Charles Lloyd live recording '8', the polar opposite in SQ, gorgeous quality and beautiful music
  3. 1987 Japanese/German Impulse! titles

    I regularly imported CDs from Japan for my own collection and "32XD" meant that the list price was 3200 yen, not 32000, and 55XD 5500 yen, not 55000 - a not insignificant difference
  4. What Classical Music Are You Listening To?

    Superb .... "must have" Bruckner 7 performance ....
  5. Today
  6. What Classical Music Are You Listening To?

    La Stravaganza 12 Concerti
  7. What vinyl are you spinning right now??

    I notice HJ’s have got it in stock, along with the ‘Duo Exchange’. Do you recommend them?
  8. What Classical Music Are You Listening To?

    In the morning .... :
  9. Great to hear. I´m really glad to read those good news. Speedy recovery !
  10. My mistake, sorry. He certainly WAS a character, and his radio shows spinning all that 20s and 30s or 40s dance bands, singers and semi-jazz (but often outright jazz too) made you aware of a lot of artists that you had never heard of before and later knew better where to place them when you came across them in the record stalls. Budding collectors learnt a lot there. Only his "Frenchized" pronounciation of those U.S. artists' names sometimes was a tough nut to crack (particularly at his talking speed ). It took me a while to figure out, for example, that that "Abbé Le Mans" band leader he was talking about actually was Abe Lyman! Same here. Even in the 70s and 80s this WAS an issue, particularly if you tried to catch relatively far away stations on AM and long wave radio that had interesting music shows. Made me quite tolerant of the fidelity of not quite so pristine 78s.
  11. 50 Years Ago

    Sesame Street: A big hit among us boys (our little group of jazz fans then) was the version of the theme, done by the Singers Unlimited with Oscar Peterson.
  12. LF Los Angeles Jazz Institute (LAJI) CD

    I am perfectly well aware of the difference between fake bidders bidding to net the seller more money and the scenario that you and I described. I described it as ANOTHER reason (i.e. a reason different from shill bidding) why some bids may have gotten out of hand, particularly in the earlier days of eBay. And the risk of accidentally winning an auction at what you yourself normally would not be willing to pay and would not be able to afford in the long run of course was very real. I do not really remember and did not keep track of how far the other bidders went when they raised that "deep pocket" bidder but his winning bids always WERE high. And I do remember that when I tried it myself (because I had been irked a number of times too when I saw that character's name as the starting bidder and realized that "there goes your chance of winning THAT auction too") I cautiously went in $10 instalments and found that even at something like $40 or 50 for a simple (and not exceedingly rare) 50s US car magazine I incredibly enough had not had the leading bid yet. But of course I had taken a look at his bidding history on a number of similar previous auctions. In those days, with actual bidders' names being displayed, things were VERY transparent.
  13. I understand what you say. And right, I also met people who said "I don´t like that because the sound quality is not good". But......what music !
  14. So, What Are You Listening To NOW?

    I always had a special affinity to the 1952 session with Dorham, Lou Donaldson and Max Roach. That incredible "Carolina Moon" ...... and "Skippy" and all the others.....
  15. Denon One Point Recordings

    Someone is selling these four box sets right now in Germany: Don't know the seller. Interestingly, s/he also has the 2nd set in gold.
  16. 1987 Japanese/German Impulse! titles

    Wow, that's crazy! That's about $30 and $50 per CD. I'm glad many Japanese reissues are only 1,000 Yen these days.
  17. I recently re-discovered my Denon One Point Recording CD box sets. These sets were released between 1992 and 1995. There were four of them, each containing 5 CDs. "One point recording" means that a single pair of stereo microphones was used by the Denon engineers to record the music. Importantly, as far as I know, all of these CDs were also available in standard multi-microphone recording versions. I have seen many of these standard CDs in the classical music section of this forum, which probably is a good indicator of the artistic quality present on these CDs. I bought mine in Germany when they were released. Indeed, as you can see below, the first set has a German subtitle, while the other sets have English subtitles ("Limited Edition"). I am not sure in which markets these box sets were originally released. Looking through past sales offers, I only ever saw them advertised by Germans, which suggests that they were limited to this particular market. At that time, Denon was recognized as a leader in PCM recording and playback in Germany. I used to have a Denon CD player as well in the early 90s. Each of these sets was available in a numbered version (of 1000 copies) using gold CDs (see the second box below) and in another limited (of unknown quantity) version using silver CDs. Both versions are pretty rare. So, why do I think it is worth mentioning these CD box sets? Because they sound absolutely incredible! The recording technique conveys a sense of space that is unmatched in my experience. I used to enjoy them with my Stax headphones but can't listen to headphones anymore (I immediately get tinnitus from headphones). They still sound breathtaking through my mid-field studio monitors. Well worth hunting down.
  18. Lou Donaldson 24-bit Japanese RVG's

    Is this the edition with the extra tune on Here 'Tis?
  19. By all means, keep us posted. Hoping for the best.
  20. Sexiest album covers

  21. Sergio Mendes - In the Key of Joy

    BRAZILIAN LEGEND SERGIO MENDES, CELEBRATES SIX MAGICAL DECADES OF MUSIC WITH HIS ADVENTUROUS NEW ALBUM IN THE KEY OF JOY Release on Concord Records features an all-star cast of special guests including Common, Cali y El Dandee, João Donato, Buddy, Sugar Joans, Joe Pizzulo, Gracinha Leporace, Hermeto Pascoal, Rogê, Guinga and Sheléa Coincides with spectacular new documentary on Mendes’ remarkable life and career by acclaimed filmmaker John Scheinfeld Watch Trailer One common thread weaves throughout the staggeringly diverse tapestry of music that producer, composer, keyboardist and vocalist Sergio Mendes has created over his remarkable six-decade career: the spirit of joy. From his pioneering contributions to the foundations of bossa nova alongside the likes of Antonio Carlos Jobim, through the era-defining Latin-pop sound of his iconic group Brasil ’66; his scintillating collaborations with jazz legends like Cannonball Addereley and Herbie Mann to his chart-topping adult contemporary smash “Never Gonna Let You Go;” on through his 21st-century reinvention with the Black-Eyed Peas and John Legend or his Oscar-nominated theme song from the animated hit Rio: an infectious spirit of joy pervades everything Mendes has ushered into the ears of listeners. The Brazilian legend’s new album is no exception. On In the Key of Joy, due out February 28, 2020 from Concord Records, Mendes looks back the only way he knows how – by once again moving forward. Released to coincide with a spectacular new documentary on his life by acclaimed filmmaker John Scheinfeld (Chasing Trane, Who Is Harry Nilsson?), In the Key of Joy melds the classic Brazilian, jazz and pop sounds that have long characterized Mendes’ music with stunningly contemporary inspirations that make the album sound at once utterly timeless and wholly of the moment. As he has throughout his musical life, Mendes thrives on collaboration on In the Key of Joy. The album brings together fellow Brazilian legends with modern-day hitmakers and young rising stars, bringing familiar voices and fresh life to a set of new original songs penned by Mendes and his collaborators. Guests on the album include Common, Hermeto Pascoal, Joe Pizzulo, Cali y El Dandee, Buddy, Sugar Joans, João Donato, Sheléa and Mendes’ wife and longtime singer, Gracinha Leporace. “This album is all about joy and celebration,” Mendes says. “I’m very curious, and I love to work with different people from different cultures, different countries, different generations and different styles.” To accompany the documentary’s wide-angle perspective on Mendes’ sweeping history, the Deluxe Edition of In the Key of Joy includes the soundtrack to the film, a career-spanning overview that encompasses the greatest moments from Mendes’ musical life. From the unforgettable Brasil ’66 classic “Mas Que Nada” to Burt Bacharach’s “The Look of Love,” which Mendes memorably performed on the 1968 Academy Awards telecast; collaborations with and the dazzling, soulful “Never Gonna Let You Go,” the disc offers an essential primer on Mendes’ ability to place his indelible imprint on multiple styles of music across the decades. While he’s never been interested in living in the past, the experience of making the documentary and the 60th anniversary of the bossa nova gave Mendes an excuse to look back and take in the scope of his accomplishments. “I’ve been very blessed to have had such a long career,” he says sincerely. “There’s an English word that I love and that I use a lot, which is ‘serendipity.’ I’ve been fortunate to have so many beautiful encounters in my life.” In the Key of Joy provided the opportunity to make some new encounters as well as reunite with old friends. The album was recorded between Mendes’ native Brazil and his adopted home of California, one more way in which he bridges past and present in an eclectic harmony. “There are some sounds that you can only get down in Brazil, that amazing energy, that massive rhythmical wave that you hear underneath everything,” he says. “Then I have all of my wonderful partners and such amazing musicians in Los Angeles, along with all of my special guests. It’s the best of both worlds.” The lilting Brazilian pop of “Sabor Do Rio” opens the album with the instantly recognizable Mendes sound, the lush and sunny blend of voices and horns harking back to Brasil ’66 while Common’s welcoming rap invites in contemporary listeners. Like much of the album, the song was co-written by Mendes with producer and multi-instrumentalist Mika Mutti and woodwind player/arranger Scott Mayo. The propulsive dance-floor pulse of “Bora Lá” is a buoyant backdrop for the vocal pairing of Brazilian samba star Rogê and Mendes’ lifelong muse, Gracinha Leporace. “It’s magical,” Mendes says of working closely with his wife. “I feel so lucky to have her in my life – and beside that, what a great voice.” The Colombian pop duo of brothers Cali y El Dandee take the spotlight on the sultry “La Noche Entera,” co-written by the pair along with Mendes and the great Brazilian musician/producer Carlinhos Brown. The angelic pipes of The Voice alum Sugar Joans aptly grace “Samba In Heaven;” the singer is a second-generation collaborator with Mendes, her father being Joe Pizzulo, who so memorably sang the lead on “Never Gonna Let You Go.” Pizzulo himself rejoins Mendes for “Love Came Between Us,” which evokes the silky sound of that classic hit. Bossa pianist João Donato co-wrote and performs on the percolating “Muganga.” In the liner notes, Mendes refers to Donato as one of his “Three Magi,” along with Hermeto Pascoal and Guinga. The former contributes the party-like atmosphere of “This Is It (É Isso),” also performing an emphatic Portuguese rap. Guinga, meanwhile, wrote and plays guitar on the album’s mesmerizing final cut, “Tangara,” which conjures images of sun-dappled beaches and vibrant forests chiming with birdsong. The upbeat title track features up-and-coming Compton rapper Buddy, who also recently worked with keyboardist Robert Glasper. Singer-songwriter Sheléa dances nimbly around the acoustic guitar lines of Chico Brown on “Catch the Wave” and takes an achingly yearning turn on the ballad “Times Goes By.” Mutti penned the delightfully cheery “Romance in Copacabana,” with its whistling melody and a spotlight for the bandleader’s fleet jazz piano skills. Revealing Mendes’ inability to stand still as music evolved, In the Key of Joy is stunning in the range and beauty of its spectrum of styles and collaborations. “I like to get out of my comfort zone and try things that I’ve never done before,” Mendes concludes. “I feel a great excitement walking into the studio with different people and discovering what happens. That’s what I do. I love the musical adventure that I’ve been on for more than 60 years.” Sergio Mendes on the web: Website: Facebook: Instagram: Twitter: YouTube: Artist Title Time Sérgio Mendes & Common Sabor Do Rio 04:12 Sérgio Mendes ft. Rogê & Gracinha Leporace Bora Lá 03:21 Sérgio Mendes & Cali Y El Dandee La Noche Entera 02:54 Sérgio Mendes ft. Sugar Joans Samba In Heaven 03:56 Sérgio Mendes ft. Gracinha Leporace Muganga 04:13 Sérgio Mendes ft. Buddy In The Key Of Joy 03:14 Sérgio Mendes ft. Joe Pizzulo Love Came Between Us 04:16 Sérgio Mendes ft. Shelea Frazier Catch The Wave 03:12 Sérgio Mendes Romance In Copacabana 02:57 Sérgio Mendes ft. Hermeto Pascoal & Gracinha Leporace This Is It (É Isso) 02:56 Sérgio Mendes ft. Sheléa Times Goes By 04:27 Sérgio Mendes ft. Gracinha Leporace & Guinga Tangara 03:59
  1. Load more activity