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jonathanhorwich

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Everything posted by jonathanhorwich

  1. Thanks for all of this guys. I'll check with my distributor on Amazon UK. Not sure what our relationship is with them. I know in the U.S. we always appear here.
  2. Thanks for this on CEDAR. Glad to hear it works well. I've never used it so can't speak about it. But unlike many people the tape hiss of the 60s and clicks and pops just don't bother me that much. I hear the music. But with that said, we do try and remove the distracting noise without in anyway affecting the musicality or tonality. P.S. As an added note, I just listened to two different other transfers of the Parker Moose the Mooche. I won't name names as that is not the point but both have their cymbals very attenuated so the swoosh sound is very subdued. The midrange is very distorted. I then had someone who has the original 78s check theirs and they said the cymbals are very attenuated and you can barely hear them but the swoosh is there for sure. This is just more data. The link on the Mosaic site is being fixed so it has final versions of some of the things we have done so far. Hope this helps. It helped me to get some perspective here.
  3. Thanks and appreciate that. The problem is the transfers we start with have those swishy sounds whether from the original recording or lousy transfers (so common). But not from noise reduction. Thanks.
  4. Edit: Jonathan, I just saw your comment on this thread, thanks!... I don't know what sources you used for this transfer, but are they that quiet that the Parker samples on the Mosaic website have no discernible background noise?.. I understand YOU don't use noise reduction, but maybe someone else did?... I found some sound samples online from the Fremeaux Charlie Parker edition, and in particular the "Cool Blues" one does have more top end to the cymbals sound. Also I hear more distortion, probably because they did not work from pristine copies. Thanks. The sources we used were from Mosaic as provided. I won't go into details but as you know we absolutely do not use and do not like noise reduction. Hate it. (Don't get me going on noise reduction.) I also hate those click and pop removers that are automatic. Very often used by companies but it can screw up the sound. We never do that. We do manually remove clicks or pops that are loud and distracting without hurting the sound as there is a way to do it. You have to be careful when you hear more top end or more this. You don't know if they EQ'd it up or what. I just know that from the masters we were given we have not screwed with the sound. But you will hear more of the original faults such as the drum sound they used to get or was part of a bad transfer (bad azimuth setting?). I'm sure you all know that unlike some of the other reissues we've worked on, with Parker there are no original tapes to go back to. Nothing. One relies on earlier transfers and that puts one at a big disadvantage as you all know and may be the cause of some of what we're all hearing, like the drum sound. Could be or could be the original recording. I know I'll never know. On the Hemphill I was dying to get my hands on the original multitrack tapes without some of the faults of the transfer to the two track tape I had. But I could not find it and no one knew about it. Just had to settle for what I had. At least you can hear the music. Same with Parker. And I think with improved tonality in this case. I'm waiting to hear from Erwbol on what masters he compared the Mosaic posting to so I can check this out carefully. But the above pretty well covers it. Thanks.
  5. Again, I want to emphasize we do not scrub these recordings clean. I'm not sure where this is coming from but we have no such purpose and no such action. We try and make them free of big and obvious clicks and pops (done by hand, manually, so as not to affect the sound) and we try and restore original tonality. As in all our IPI releases for ourselves or for Mosaic. I'm not sure what I'm missing here in listening but these don't sound scrubbed clean to me at all. You can hear the swishy cymbals as originally recorded, etc. I'm not sure what else to do with the recordings but what we've done with all our reissues. Improve tonality and the communication of the players without screwing up the sound. Scrubbing clean has never been on our minds nor in our results. Listen to the Hemphill we put out. All the original faults in the recording are there, big time. if anyone would like to communicate with me directly they can at jonathanhorwich@me.com. Thanks.
  6. I thought I'd weigh in here since I just saw some of the comments, especially by Erwbol. Very helpful to have these comments now as those Parker tracks up on the site are not complete yet as far as audio goes. We (meaning IPI) never ever use noise reduction. Ever. In this case we hand remove every tick and pop that is gross and that does not affect the sound. That takes time. The whooshy sound of the cymbals on Moose the Mooche is the sound of the original recording. I just heard it. But worse. More muffled, as are the horns. And distorted which is to be expected. The version on the site although not final (and not necessarily a good copy which I will rectify) is much better in my opinion than the original, as you can hear the horns much much better, but of course you'll hear the wooshy sound of the cymbals even more with the noise gone as explained above. We don't get into EQing things and messing with them too much so if there is a generic fault in the original like those very poorly recorded cymbals in Moose the Mooche, you'll hear it clearly in the upgraded sound. It would really help if Erwbol could let me know what original he is comparing it to and I can go check it myself. To make sure. That would really be appreciated. My experience so far is the mastered versions are much better than the originals are. But if we have some better originals out there I don't know about love to learn about this now. Thanks.
  7. Thanks. If Amazon UK sold any of my earlier releases then it will sell Tapscott. The distributor either has a relationship with UK Amazon or not. Not sure myself. Let me know if they did sell earlier reissues of mine and if so you're in luck. If not, I'll contact my distributor after you let me know. Thanks.
  8. Thanks all. Yes Tapscott is completely done except the liner notes inserts are being printed here in Chicago as we speak. Then they ship to CA to be collated with the rest of the parts and voila. So October for sure. And I don't get copies here for sale. So sorry. I am not allowed to sell any as the distributor does. And I'd like some input from you all on Ran Blake's Rapport. I love it. Unusual and good. Whether it would sell I can't say but the music is wonderful and original. Don't know how others feel. I ran across it listening to other possible reissues. And don't worry Joe Daley will be coming out next year probably.
  9. Dear All, Thanks for your offers to preorder. Much appreciated and this is possible. I'll have to figure this all out once I tackle it after Tapscott. I will be at Capital Audio Fest but Tapscott won't be ready then. Probably August. Sorry about that. I'll be playing master tape copies at CAF. The only good news about the Carter Bradford cancellation is that I will devote my full attention and energy to the box set, which it requires.
  10. Dear All, some good news and some bad. On Daley it is now good news. Here is why. ACE Records in UK who owns the rights to the Flying Dutchman Label material has withdrawn their approval for me to put out the next Carter/Bradford material, which was going to be my next release. Originally they told me, which I have in writing, they had no plans to put out the three reissues I was interested in: Carter Bradford Flight for Four (now out), Horace Tapscott, The Giant Awakens (now being manufactured as we speak) and finally Carter Bradford, Self Determinism Music. Ace Records has suddenly written me and withdrawn their approval for me to release Self Determinism music. They have decided to put the music out themselves to try and make money with it. I won't bother you all with the gory details but obviously there was some shift internally on putting things out and they used a ridiculous reason for taking away my right to lease it. I am not fighting it as not worth it and at least the music will be available, although questionable as to their packaging and audio quality, which is a shame. I question their quality as their justification for taking back their approval on my rights with this issue was so lame and dishonest morally, that I question their standards generally. So that is what just happened. The good news is I only have one known reissue left to do which is the Daley material. I will plunge back into that and try and sort through all of it. It is a lot of material and I lost track of where I was and what I figured out on it. So I"ll start all over and get it all sorted out. sometime this year I hope to release at least one of the three CDs but hopefully a box set. As I go through it and get a grip I'll let you know if my memory is correct and the final trio work that actually too place at Newport and was not what was put out, is indeed as good as I remember when I made the transfers at Sony studio in NYC. So Joe Daly is next and after that I have no idea. I have to find something I adore or I won't put it out. But Daley will keep me very busy for the whole year sorting it out and getting the money to put out 3 CDs at once.
  11. If someone would send me the site at jonathanhorwich@me.com I'll let Sony know as they own the rights. Thanks. Jonathan
  12. Thanks all of you. Kinda sums up my feelings. It's a risk, but tough I'll take the risk. I can think of worse things to lose money on. And money is money. Music trumps it. Yes, Larry on the LP Joe is a bit tentative, uncomfortable or something, but on the real live at Newport performances, the trio jells and oh my god. So much better. The LP was not even close to live at Newport. It was fake. Chicago studio was where it was recorded and used Joe's voice as the announcer. And the last performance of the tapes I transferred turned out to be the real live at Newport and it was very good if my memory serves. I'll take some time in the near future and recheck it all out. I guess that is that. I'm going to do it no matter what.
  13. On Joe Daley, he is coming out for sure. I just have to accumulate the moolah to do it right. By the way all, do you think it will be popular? It sure is on this site. But you guys know things I don't about most performances and the general public doesn't know about Joe nor do they know about bassist Russell Thorne. Do you guys think it will sell okay? You all have experience in these matters, as I do in selling, but you may have encouraging facts for me.
  14. Thanks all. I may have been sent Hum Dono in a private message but I'm not good on this site with the various features. I'm finally getting good at just posting knowing I have to be signed in, duh, etc. Anyway got the MP3s so thank you. Yes, Verve owns the rights to the complete tapes, Live At The Halfnote, which itself is stunning. Lee and Warne never played better and ironically Lennie Tristano had the night off to teach so Bill Evans set in and they recorded the set. So for now, next is The Giant is Awakened. Then not sure. I would imagine Self Determinism music. By the way, Jeremy Steig is selling like hot cakes. And I had to reprint it. I was shocked. My only dud sales wise is Clare Fischer. Many people just don't get his music. I guess I can understand if I try hard.
  15. I imagine in about one or two years I would put out the Revelation Marsh tapes. No, only Warne's solos. I don't own the rights except to this Warne edited tape. We were given that by Warne himself. The Lee Konitz solos and all are already out anyway. This release on Revelation was a special thing and focused on Warne's astounding improvisations. Still mind boggling. What a genius.
  16. Thanks. No offense at all. it is nuts those tapes were sent to Hat Hut without very very good copies being sent or kept. Nuts. Tapscot is coming along beautifully. Sound and design of cover are both done. Production will be underway soon. Probably come out late Spring early summer depending on funds. Oh yes, send MP3 file to jonathanhorwich@me.com of Hum Dono. Dying to hear it. Thank you so much.
  17. I have been away and apologize for the delay. See my answers to each point below. Wondering why a owner would lease an original tape without having a first generation analog and/or digital copy based on best possible technical/aural standards at his disposal - but otherwise really sad that somebody would destroy a tape at all, even the imagination hurts...... Like I said Bill was not good with this end of things. He only kept a copy of the Carter Bradford material thank god which I used when I did the production work for the Mosaic stuff. What's your take on "Hum Dono" actually? No idea how feasible it might be on the side of laws and stuff, but musically, ain't it wonderful? I’d have to hear Hum Dono. Sorry but don’t even know what it is. Sound fabulous from your comments. Anybody got a digital copy? These are the 30 tracks (of Warne Marsh), correct ? We have 34 tracks with Warne on them which we put out on Revelation Records, two discs. I will have to see if there are more in the master tapes I have that Warne gave us. But I am going to reissue that on Revelation as the kind of ultimate improvs by Warne. They kill.
  18. Thanks for your suggestions. As a note I don't get what JSngry means by "Although perhaps not for life in general, hello this. Or perhaps for life in general after all. Who am I to judge?" I'm probably a bit dense. ​Well thanks for the encouragement on the Joe Daley. I'm definitely going to do it. On Ne Plus Ultra, I'm sad to tell you that Werner who heads Hat Hut destroyed this and two other of our masters. My partner Bill Hardy who had one of the best ears in jazz was not good with the mechanical end. I was away for a while (my huge mistake) and Bill leased Ne Plus Ultra to Hat Hut who copied it to digital but had trouble with the tape not knowing what sticky tape syndrome is and decided to destroy the tape and did so. I found out about this years later from him. I almost sued but did not. This is a criminal act and someday I still may sue him. But very involved. Anyway the original tapes are all gone. I only have his digital copy which at his engineer's standard sucks. They didn't know how to handle tape at all (its so easy once you know what to do) and surely did not know how to make a 1 to 1 copy from analog to digital. Hence not sure what I'll do with Ne Plus Ultra. By the way, one thing I do not like about Ne Plus Ultra is that Marsh doesn't solo enough or long enough. Bill had a genius recording for us and he should have centered the performances around Marsh going at it. Instead it is very very good but could have been magical. Sad story really. I probably will put out the Revelation Marsh stuff from the Half Note if I don't get put in jail. Now that stuff is the shit. Marsh is on another planet on those improvs we put out on vinyl. Anyway, let me review all these suggestions.
  19. Dear All, hey guys thanks so much. I really appreciate the kind words. I would like to bring up something which really began this thread. I will be out of killer performances soon. What to do next is up the air. I'm okay for a year or so. And the Joe Daley should work out okay if I can put together the money. But think about this. I'm not looking for a reissue some guys might like or that you might think is really good. I need stuff like I've put out. Whether someone likes the Steig or not I can defend it in my own mind as what I think is the greatest straight ahead flute performance ever. No one is going to show me a performance on flute that betters it. Period. Same with Hemphill I put out or Dixon or Carter/Bradford. They just stand the test of time and even Fischer which is rough for many people to like, well I have no doubts about its genius and my only regret is I'll lose money galore on it. But I know it is brilliant and should have been done. I need something like that to reissue. that's why I started this thread. Can all of you who read this think it over. Not just something good. Or very good. But killer that has not come out on CD or is long ago on CD and no longer. Thanks guys.
  20. Hey thanks so much. And as a note the Hemphill is rapidly running out. Soon there will be no more so good you got one. The Fischer is a strange one in that some people (like myself) think it is a work of genius but others are thrown by it as it sounds so benign or something. It is very easy listening. Like elevator music. But the truth is it is brilliant arrangement of instruments as good as anyone ever achieved in my opinion. But some avant oriented listeners are thrown by it. The Steig is simply the finest straight ahead jazz flute performance I have heard. Anyway thanks for your encouragement. Tapscott's The Giant Awakens is now well in the works.
  21. Thanks to you all for your interest. Firstly schedule: The Giant Awakens by Tapscott would be late Spring early Summer. Self Determinism if I do it right away late this year. Joe Daley? Wow. Not sure. But I imagine 2015. Yes, the Marsh would be just what Revelation put out as we owned the rights to those edited tapes. It would be a reissue of the Revelation stuff. I guess i could check and see if the company that owns the rights now to the full tapes would like me to reissue all of it. I'll probably check. But there is something I like about those Revelation issues which focus on Marsh and stick it in our faces what a genius he was. Unbelievable player. A true true original genius. He drives me crazy when I hear him on it. I may reissue a few Revelation recordings but not sure. I do put out some of the Revelation material on my tape copies issue program. I make master tape copies and send them to audiophiles/music lovers with tape decks. the sound is pretty serious and they love it and I love doing it on the side. Anyway I'll review those Revelation performances and see what is what. Again, thanks so much guys. You are the most knowledgable jazz people on the planet and its so valuable to get your immediate input.
  22. Just to jump in, the very best burner is the no longer made Plextor Premium II. There are some left over brand new ones available on eBay. Best burner ever made. Another very very good one is the Tascam 1000HD but quite expensive but if you have the money you can do a lot with that unit. But the very best sounding one is the Plextor Premium II. I'm only making other members aware of this as didn't see it on the list above. If you do it correctly with great playback vinyl equipment, good wire, top A to D converter (not easy) and a very good burner, one can make a superb vinyl copy onto CD.
  23. Thanks for asking. Well "Flight for Four" is out and has been for months. I just issued Jeremy Steig, "Flute Fever." And next is Horace Tapscott, "The Giant Awakens." I love the music. And then maybe "Self Determination Music" by Carter Bradford. Then Daley I guess. I may put out our Warne Marsh stuff from Revelation, that is the two killer performances at the Half Note we issued on vinyl. But not sure. Then I'm out and perhaps done with CD reissues as nothing else I can find to put out that isn't already out that is the stature of these releases.
  24. I have the Threadgill Too Much Sugar For A Dime on CD. Love it. Might be obscure enough to still reissue.
  25. I just ordered the Threadgill as not familiar with it. So I'll give it a listen.
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