sonnymax

The 5 trio tracks were included in the "Toshiko Akiyoshi - Six Classic Albums" set from Real Gone.

One of the most beautiful voices I've ever heard. Rest in peace, my Queen of Soul.

According to Wilson’s liner notes, Byrd’s Eye View was recorded at a “large, well-appointed studio” in front of a “a small but hip crowd of jazz fans”. The recording engineer was none other than Arnie "Woo-Woo" Ginsburg.

Good advice, or as another wise old teacher might say: "This stuff and make your own lists ignore. Then on your list ask yourself why stuff other folks love is not. Sample, study and grow."

Any relation to "Poinsy” Poindexter, friend to Felix the Cat?

Thanks, Jim.

Looking for information about this recording made in the Spring of 1991 in Milano. Reportedly, Nistico's tenor is backed by drummer Tullio De Piscopo and his "trio". No idea who is playing piano or bass. Issued in 2000 on the Italian Azzurra label (TBP-JABO12), the cover makes it look like a cheap compilation album (note all the different jazz artists, none of whom appear on this recording): The nine tracks are Horace Scope, Sal The Light, Polka Dots And Moonbeams, Song For Larry, From Tullio To Gil, Little Italy, Lucky Serenade, Blues For Sal, Tony My Dear. Any information on this date would be appreciated.

"YouTube Music is adaptive, which means it can change depending on your internet connection, and offers a maximum of 128kbps without an option to change to a higher quality." from YouTube Music vs Spotify vs Apple Music vs Amazon Music Unlimited: What's the difference?

Vivendi, a French media conglomerate that is the parent company of the world's largest record label, Universal Music Group, announced during its half-year financial review that it plans to sell up to half of the share capital of the label group. NPR music

"Think" ranks up there as well.

Meddling in an election? Are you sure your last name isn't Brezhnevhan?

I doubt anyone would disagree with the first sentence in your post. Then again, a lot of remastered reissues sounded much worse during the early days of the compact disc. The rest of your statement is, in my opinion, a load of crap. I've read the argument that Rudy's remasters sound the way they do because his hearing was impaired before, and I don't buy it. I believe Rudy gave reissue producers exactly what they wanted, more or less. The perceived limits of new media and changing listeners' tastes led many to believe that music with exaggerated highs and lows, compression and louder volume sounded better. We asked for it, and RVG complied. As far as McMaster's work on the Connoisseurs and Mosaics go, you're certainly entitled to your opinion. I have a much more favorable opinion of these reissue programs, as I'll wager do many of our brethren.

I don't think your favorable opinion of McMaster's work is as controversial as it might have been 10-15 years ago. I think his even-handed approach to remastering many of those Blue Note classics yielded more pleasing, "natural" results as compared to some of the more compressed, exaggerated high-end ("hot") reissues that followed.