jonathanhorwich

Dogon A.D. is now out and available on several sites include Dusty Groove. As a heads up this has sold much faster than even Bill Dixon and I have sent off 1200 copies of the 1500 I printed. In short I have 300 copies left and that is it. Hope you all enjoy. Jonathan

Dear All, I am unable to find my posting of earlier today but Larry Kart kindly copied it here. Basically, I shipped Dogon A.D. to the distributor today. It is a matter of days (7--10) before it is available. The Hard Blues is on the new reissued CD. Just like the master tapes. The reissue of Hemphill will be at many distribution points and soon. Amazon is only one of them. Dusty Groove in Chicago will have copies quite soon. The Arista/Freedom vinyl had the channels switched so you will hear the channels switched back left over to right and right over to left in this CD reissue to match the masters. The sound generally is a bit better on the CD as we had the master tapes right there and took some care in the transfer and mastering. This is the first time Dogon A.D. has been issued on CD and hopefully you all will enjoy it. Jonathan

For those who asked when Dogon A.D. will come out, it will be this year without question. I just received the mock ups of the cover from Japan and it looks wonderful. Same treatment as Bill Dixon's Intents and Purposes. So things are moving along very nicely. Next is the sound of the music which is the most important item of all and and will receive the most care and attention.

The comments by Holy Ghost and David Ayers are exactly the thinking I went through back and forth and back and forth (the only time in all my reissue work I have ever had a hard time deciding). Again, I can't even justify the decision to myself. I just finally picked the Arista for several reasons one of which David expresses. I think by having the Mbari cover as an insert we obviate much of the negative side of not having it as the primary cover. Again, sorry to those who prefer the Mbari cover. However, I think you'll be pleased with the overall production and reissue.

Thank you all for your replies. I now have that spine number both from Clifford Thornton (thank you) and from Cuscuna. I am using the Arista cover as it is more known, has liner notes, has spine text, etc. The Mbari original had no notes, no spine text, and Michael Cuscuna told me Julius would much prefer the Arista cover which is wny Michael put out a new cover for the Arista release. I am completely duplicating the Mbari cover on the inside as an insert so the original cover will survive historically in the CD reissue. I went back and forth on this many many times and finally picked the Arista. But I could see it either way and still can. So I can't defend either decision, going either with the Mrabi or the Arista. I just finally picked the Arista and will have the Mrabi as the insert. Hard Blues is right here on the master tapes I have and will be on my reissue because it was part of that 72 session. I think you all will be very happy with the sound. I've improved the transfer line from analog to digital yet again. Jonathan

Dear All, To start this thread on my next reissue, can someone with the Arista Freedom issue tell me the number that appears on the right side of the spine of the vinyl cover. I need this for my reissue. I see it as 0693, but both my covers are smashed on the edge and it is not easy to read. Then we'll move onto the next topic. Thanks in advance whoever has this cover. Jonathan

Dear AllenLowe, Just saw this. Sorry. I got the master tapes from DA Music of Germany which owns the rights. This is very good for this issue because I have the tapes in my hands and can play them back over very very good analog gear and transfer to digital with total control. So I'm happy about that. Jonathan

Dear John L., Thank you. I will improve on the quality of the Hard Blues for sure. I spent three years almost full time researching analog to digital technology and you should hear a very nice improvement. That is one of the reasons for putting this stuff out. Put it out with good sound quality so the music is not interfered with. Most CDs are degraded by the original A to D transfer as there are only a handful of great A to D converters and by the blank disc itself and by the burner that makes the CD master for manufacturing, and finally the wire used and the AC conditioner/power system. Anyway, I think you'll be pleased with Hemphill. Well, as soon as I finish the testing on which professional line level wire sounds best, I will make the transfer to digital and we'll move forward quickly from there. I want it out on the heels of Dixon, which right now shows no signs of fizzling. It is almost sold out in one month. Caught me off guard. I may have to print more as it hasn't even been reviewed in major magazines and if it is, and there are none available, I don't think that would be right. I'll have to see. Jonathan

Dear Head Man, Thank you so much for your kind words. Very very appreciated. Dogon A.D. will be the exact same treatment except there was one tune left off Dogon A.D. due to the length of the vinyl at that time and it will be included as it was from the same session. The tune was Hard Blues. It is pretty long too. So that will be the one exception as I'm trying to recreate what took place on the vinyl or what was intended to take place on the vinyl but could not due to time constrictions. Thanks for your interest. Jonathan

Dear Mr. Jlhoots, I'd say about three months down the road. I'll have things done and Dixon simmered down to a dull roar. I'm working on the cover and packaging right now to get that off to Japan and I'm upgrading my mastering line for the transfer of the master tapes to digital, the hardest part of all. Took me three years to find the best equipment for each step. I'm still comparing wires right now to see which is best and then I'm basically there and will transfer the tapes to digital 24/96 and maybe DSD as well just to have it. If I can't get it to sound better than the original vinyl then I know I've failed (and I prefer vinyl to digital if I have to make the choice, which I don't). Jonathan

Dear All, I made 1000 copies total and have shipped over 600 to the distributor as it is selling very briskly so far even without any reviews in major mags. Even only selling 50 a month they will be gone in 8 months. And if they keep selling as they are now they'll be gone in one or two months. Dusty Groove sold 50 alone in the last few weeks. I'd have to have a huge demand several months from now where I knew I could sell another 500. Chances are I will not reprint. This for all your infos so you know what is what. Jonathan

Dear All, I thought you'd like to read this brilliant write up on the Bill Dixon Intents and Purposes reissue. I have already seen several very favorable reviews but am posting this one as it is brilliantly written and really describes the importance of the music so well. This writer has his thing together. http://www.allaboutjazz.com/php/article.php?id=39211 Jonathan

Mjazz and mjzee, thanks for your kind comments. A lot of time was put into the packaging including the inclusion of the Dynagroove label to create a near diminutive duplication of the original RCA vinyl cover, etc. And as for the sound, I brought my equipment to NYC and Mark Wilder at Sony studio and I made a good transfer to digital from the master analog. Combined with good post production work, we achieved a good sound quality. Hope you all enjoy the release. Jonathan

Frankly, most of these suggestions I have never heard. I downloaded a few and am listening to them. I may have to beg a CDR from a few members so I can hear the music. I'm glad I asked as this stuff is all new to me. Someone mentioned they were surprised at my choice of Steig. Not sure why, but I picked it because I have never heard better jazz flute playing and Denny Zeitlin plays brilliantly. Classic or not, it is a brilliant performance. Far more so than Steig with Bill Evans which should have been killer but was only good to my ears. Any more comments would be appreciated. By the way, I downloaded Alonzo Levister, Manhatten Monodrama and listened to it tonight and it is brilliantly done. Absolutely fascinating. Jonathan

Dear All, Thanks for all the great responses. A few points that might help. Firstly as earlier stated The Bill Dixon Intents and Purposes reissue is very legal. As legal as you can get. Papers signed galore. Same with Dogon A.D. I have the masters here in my studio right now. Sent to me by the owner of the rights. I don't put out illegal music. Period. If I put it out I have complete legal clearance that will stand in a court of law. I say this to put to rest any question or concern about legal rights when I issue anything. So everyone can rest easy. It will never happen under my watch. Secondly, economic concern on my part is not huge. But it is some concern. If I can't sell at least 500 copies I take a hit. If I can sell 1000 that is viable. If something is a stone cold classic, no question, then I'll put it out and damn the money. (I make my money outside jazz and do not and never have relied on it for my survival.) Hence the Bill Dixon no matter what it sells. Same with the Hemphill. These are historic moments in jazz and I'm putting them out. Just as Mr. Nessa says. Because I want to. Same for Steig Flute Fever. Those three are coming out. Money or not. Hence, my first priority is a stone classic or at least killer performance that is undeniably so. None of this has anything to do with the future or young players playing now. The playing now is fabulous. Some of the stuff I get is so good I'm shocked. But I've decided in my publications to focus on classic jazz never issued on CD. That's just my focus now. Again, because I want to. And that Dixon and Hemphill aren't out on CD is wrong in my mind. Same with Steig (who I argued with for a year before he let me get the rights from Sony. He had the same view as some of the contributors to this forum about old music and it being in the past). I understand that view. But it just isn't my view right now. Hope this helps in seeing my vision and what I'm looking at in these reissues. Jonathan

Dear All, Thank you so much for your observations on what to reissue. Okay let me focus in for a minute. Let's now narrow in to classics only. The criterion for reissue is that the performance must be considered a true classic or a very important or influential performance by the person writing to the forum, and must not have been issued on CD or is no longer available on CD. Example from my view is Bill Dixon Intents and Purposes, or Julius Hemphill Dogon A.D, or Jeremy Steig Flute Fever (best jazz flute playing I have heard not to mention Denny Zeitlin is as good as it gets on straight ahead piano), maybe Joe Daley at Newport (if for no other reason than the astounding performance of bassist Russell Thorne). That kind of thing. There aren't that many classic performances or killer performances that had real influence that are not out on CD. There are many fine performances not out on CD. But let's notch it up to classics or at least killer performances. The above are my picks from my view as a member of this forum. I'm very excited to see what other members might come up with. Jonathan

Dear All, I would like to start a thoughtful discussion of what rare jazz no longer available on CD or never available on CD should be reissued. For example my next reissue will be Julius Hemphill, Dogon A.D. That is a great example of something sorely needed. And I'm working on trying to secure the rights to Carter/Bradford on Flying Dutchman. Right now that is a mess. But that's another story. I would very much like to hear the intelligent suggestions of those on this forum, as the collective experience is vast. It is not an easy decision and of course many of the choices are obviated as most great jazz is available on CD. Most not all. I look forward to a studied consideration of this from everyone reading this. Thanks so much. Jonathan

Dear Mr. Funkateer, don't hold out for vinyl. The CD is quite quite good. I'd own both in a New York second. When you see the packaging for the CD and hear the sound, you'll be glad you have it. This CD will become a rare wanted item just as the old vinyl of this is today. I really hope to do vinyl but can't swear to it due to economics, etc. But I'll try. Meantime, I think you'll love the CD. Your call. Jonathan

Thank you all again. Yes, a definite chance for an LP. For sure. If it sells well enough, or regardless, I may just print some 250 vinyl copies. I think that is a good idea. Regarding additional material added to the CD. Absolutely not I am afraid. The reason are many fold but Bill wanted this put out just as it was on the vinyl. The whole theme of this production is a duplicate of the original vinyl event, but on CD. You'll see what Bill had to say about this in the liner notes insert I provided where I quote Bill's view of this performance and any subsequent publication of it. That will make clear what this CD reissue is all about. As for sonics, well, it took me three years to find the best A to D converter (also now used by Allen Sides of Ocean Way and Doug Sax and Bill Schnee). The sound of the CD is pretty good and a bit better than the LP due to the fact I had the masters right there and went directly to the best digital I was capable of. You'll hear that the CD is very nice. I have always loved analog because it sounds more like music to me, but digital is improving bit by bit (literally I guess) and you'll hear some of this on the CD. With that said, I'd love to follow it all up with vinyl. Please let me know if anymore comments or questions. Jonathan

Dear All, Thank you so much for your interest in the Bill Dixon CD reissue. I began the project about 1.5 years ago. However, I had been asked to do the John Carter and Bobby Bradford work for Mosaic by Michael Cuscuna. That was a 3 CD set as most of you know, and took a bit to find the masters (one set, as you know, I could not find), restore them, transfer them to digital (weakest link in most audio chains) and get them ready for publication. I first approached Bill himself with the idea and my vision for the reissue and he was quite excited at the prospect. We communicated back and forth for a while, including my interaction with Sony in trying to secure the legal rights to his work. However, all of this was cut short by his illness and subsequent passing. Tragically, he was unable to see the final product. The people who supervise his estate has been nothing but encouraging to me. The masters were leased to me with all legal steps completely in order. I then flew to the studios in NYC and transferred the master analog tapes to digital using my special equipment and that of the brilliant engineer at Sony, Mark Wilder. The CD cover was much harder even than that, and it took me one year to find a company who could do what I wanted: a perfectly small duplicate of the original vinyl cover, including the varnished look that LP covers had back then. The company is in Tokyo and their work is reflected in the CD cover you either have in your hand or will see. Again, I want to thank you all for your observations and opinions. I highly value them. Jonathan Horwich

Thank you all for your comments so far. So appreciated. I'd be interested in more as you hear all three discs, and their sound. Disc III has audiophile quality sound using just two mics and one analog machine so interested if this comes through to the listener. And Disc I is very good in this regard as well. So very interested in how the music and sound wears on the listener. Jonathan

Dear All, I produced the Mosaic Carter Bradford material and would be very interested in any comments or suggestions for the future regarding it. I plan to put out other similar material including the Flying Dutchman material, Bill Dixon Intents and Purposes, Hemphill Dogon A.D (have the master tapes here now), Jeremy Steig Flute Fever, and so on. Your interest as expressed here on the site is so appreciated. Jonathan Horwich