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Have really been enjoying ZOOT SIMS IN PARIS, from both 1956 and 1961. Both albums contain especially inspired soloing from Mr. Sims.

The first Carter disc I owned was this one: Lots of listening pleasure in this one. It was much later when I heard Carter's work from the 30's. I think I like him as an arranger just as much as a player, maybe even more so. His writing for a saxophone section in particular is deceptively simple. While I've never studied the intricacies of his voicings, it sometimes makes me think of Red Garland block chords. The movement of each line feels organic, like there's no other choice but the one Carter made.

And they would not have been all that old, around 60 (Henderson born in 1937, Hutch in 1941).

👍

Thank you Felser!

yep. and I agree with all that Karl has to say. It's not revelatory music but it is very good.

Reports about B.B. King suggest that he should have stopped before he did. But when you spend so many days on the road your whole adult life I am sure it is hard, not even mentioning the $$$.

Original LP

I've reached 50 subscribers to my Percy France-centric Youtube channel! So why stop now?

Now spinning disc 2 of this release. I sent a copy of this to my best friend as part of a package for his birthday (yesterday was his 66th) as I really like it and I am revisiting it again. . . I find this very involving. . . I get sucked right into the performances. Bill Evans “Evans in England” Resonance Records

with Bette Davis as "Alabama" and the drawl that comes with it.

"Remastered" should not be impossible at least in those cases where there are no source tapes in the first place (which often is the case if the recordings are old enough). In the same manner, my guess is that many do start their remasterings from actual records, turn them into "enhanced needle drops" and call them "remasterings". As for what actual improvement this yields, it all depends ... (Isn't it so that there are enough buyers out there who do not approve of certain "recent" remasterings - on perfectly "legit" labels and reissues - either because these above all have been remastered to make the music louder - in accordance with what the reissuers perceive is today's listeners' preferences? ). And no doubt there also are PD reissuers whose remastering claims are either wildly exaggerated or a case of usurpation because they re-use previous reissues' remasterings.

Steve Slagle...was he mentioned? I can't say that I read this entire long thread started decades ago.

I've always been puzzled by PD vendors' assertions of "Remastered", when they certainly don't have access to the source tapes, etc. On the other hand, I've seen claims here on the forum that some of Werner's (ezz-thetics) PD reissues really do have improved sonics. So perhaps wizardry can be performed from needle-drops or CD-drops.

Ernest Ranglin - Bless Up (Avila Street Records)

spiderfriend (on discogs) "special transfers, you know, the copy protected ones, because that is what noise reduction is, just like the R.I.A.A. curve, or HDCD, or K2 Supercoding, they have nothing to do with improving sound quality!" WTF?? What a moron. To equate noise reduction with copy protection, the RIAA curve, HDCD & K2 supercoding shows that this idiot knows nothing about audio at all. I can understand complaining about excessive use of noise reduction, though I have no idea if it's badly done or used at all on this CD from Mosaic, but that is where this complaint should have ended. Can you imagine what records would have sounded like if they never implemented the RIAA equalization in the LP standard? No bass. Too much treble. Records that many turntables would not be able to play. It's just nuts to think that this was a bad idea.

The festival was presented by Vivo, which appears to be the rebranded Celebrity Series.

Haydn - String Quartets Op.54 - Buchberger Quartet

When I added this CD to my Discogs collection I noticed another user left this strange review: "As much fun as the music is, this is a disappointing release because of the significant amount of noise reduction that has obviously been applied. Mosaic are the stewards of a corporate jazz narrative, and here we have an excellent example of how agenda dictates all the terms. Recorded in '55, there should be a substantial amount of hiss if these transfers were unaltered. There is absolutely no hiss, and the overall sound is muted in that special way only NR can deliver. Mark Wilder is an employee of Sony and he is responsible for many of these special transfers, you know, the copy protected ones, because that is what noise reduction is, just like the R.I.A.A. curve, or HDCD, or K2 Supercoding, they have nothing to do with improving sound quality!"