mikeweil

Dangerous for your bank account, for sure.

Here in Germany NHS covers ear cleaning, and only doctors are authorized to do so. Audiologists look into your ears, but when they discover the gunk they send you to the doctors, who also have to inspect and approve the functioning of your hearing aid.

I have a French 7 CD box set on United Archives that claims to be the "Complete Big Band Studio Sessions 1946-1960", lists the track "6/8" in the booklet and on the paper sleeve of the respective CD, but does not include it but has the suite as on the Norgran LP MG N-1003 (which I have a Verve LP replica CD from 2002). I smell a discographical messup here: The third part of the suite "Jungla" is in 6/8 time - maybe this part was re-recorded at the end of the session and given the track title "6/8" and a new master number but used replacing the original take of "Jungla". Musically, that part is pretty much identical to the parts titled "6/8" in both "Afro Cuban Jazz Suites" that Chico O'Farrill recorded for Verve in 1950 and 1952.

That may or will result in improved hearing but will not show you any deficiencies compared to your hearing capacities at age twenty without suffering from rock concert PAs. I tried one of those without satisfying results. Modern hearing aids prescribed by a doctor and adjusted by an audiologist will be customized to improve your hearing in the frequency ranges affected - those intenet gadgets cannot do that.

Probably my top favourite male harpsichord player is Skip Sempé, born in New Orleans but moved to Europe for advanced studies and stayed. I can recommend any of his solo or duo harpsichord recordings, but these stand out (the first two were reissued with differerent covers: He linked several videos of his playing on his webpages: https://paradizo.org: https://www.youtube.com/user/CapriccioStravagante/videos If I could take only one Scarlatti disc to the desert island, it would be the one above!

You all should consult a doctor and get an accurate survey of your hearing deficiencies. It 's not just the volume that's reduced. With my ears, e.g. there is a loss of 20-30% in the perception of high frequencies that makes it difficult to understand spoken language as I do not hear certain consonants any more, like "s" or "f", and no longer hear the overtones or the rings of cymbals etc. I know the music and what I do not hear anymore! At least without a hearing aid. Gheorge - try a hearing aid - you might hear things you never heard before, like the ring of cymbals that you miss on recordings (although I agree with you that drums are too low in volume on most recordings). You simply cannot feel high frequencies in your body! Hearing deficiencies develop slowly and you get used to them without noticing what you do not hear when you first hear a new recording. I thought my speakers were getting old until I got my hearing aid and all the treble was still there - I just couldn't hear it as well as before.

Better quality here: http://www.cantando.ch/images/cover_schultz.jpg

Absolutely beautiful with just four strings (the way it was originally performed by the composer) and a piano owned by one of Chopin's pupils!

Strange that this very elaborate Joe Henderson Discography has nothing about these extra or substituted tracks. If you have proof of evidence, please contact the author.

Here's an appetizer, Willism Babell's transcription of a Händel opera aria that shows pretty well what you can do. The player, Alexander von Heissen, is a rising star on the scene I witnessed his exams concert at the Frankfurt music university a year ago and have a ticket for his concert at the city's biggest venue next week. The man who built this copy of a Ruckers instrument happens to have his workshop in a 18th century house in Frankfurt where my grandparents used to live, btw.

Excellent beautiful music, as if three jazz masters had an impromptu jam session. Only that that these are Wes African master musicicians.

German retailers have it up for pre-order as well.

My experienc with classical forums is that they are dominated by music lovers that prefer performances on modern piano and know little about harpsichord performance or are even opposed to it. Okay, I will try to do my best and explain some about the history of the instrument and the approaches to intrerpreting the music. It's a complex but intriguing subject.

From this, the Power To The People album.

Only the bundles with other reissues are exclusive Craft items.

I think we need to distinguish between modern harpsichords as built in the early 20th century as used by Landowska and in latter day pop and jazz, and baroqoue music played on historic instruments or copies, since these are totally different musical worlds. I will startanother thread. The excellent Rameau disc is an example for the latter is an example for historially informed practice.

It really is. I had not listened to this since I bought it and pulled it to find out whether I need the Byas Mosaic set. But it will be hard to gather the funds for it this year. Engineers back then had the problem that bass drum kicks could throw the cutting stylus out of the groove. That is why they held back or were muffled. And that is how it became a standard in the recording business. I agree with you. Drummers and rhythm are so underrated.