J.A.W.

You said earlier that the "Handmade" series "is no longer"; that is not correct - it may be different now (I don't follow it), but it's still there.

Some of the Rhino guys did indeed leave and start Shout Factory in 2003, but Rhino did not fold, it continued under the wings of Warner Music, who also own Atlantic, Elektra, Asylum (and now also some ex-EMI labels such as Parlophone, EMI Classics and Virgin Classics) and probably one or two labels I forget. It was the Rhino retail store that went out of business; it wasn't part of Warner Music.

Maybe, but he was not specifically referring to their "Handmade" series, so I assumed he meant the label as such. [edit] Just checked their site, and the "Handmade" series still seems to be alive: Rhino Handmade

Rhino is still in business: Rhino

Over the years quite a few sets didn't happen due to licensing problems and licensing cost, and that included sets suggested by customers. If you are referring to Jordi Pujol, he's in Barcelona, Catalonia (or Catalunya in the local language), not Andalusia if that's what you meant. He founded and still owns Fresh Sound Records. Andorra is where many public-domain labels are based that some people think have links with Pujol.

Scott just told me the Teddy Wilson set will be 7 discs from 1934-42 from Columbia and Brunswick with many previously unissued takes.

Currently available at Jazz Messengers (updated)

mentioned earlier

According to the Mosaic site the Bing Crosy, James P. Johnson, Clifford Jordan, Charles Mingus and Stanley Turrentine sets are expected to be available again in July 2017. The Louis Armstrong, Lester Young/Count Basie and Savoy sets are expected to be back in June, the MJQ set this month (May). Mosaic

Not listed anymore: Jazz Messengers Mosaics

See here

Hesitated, but decided to post this: Scott Wenzel just told me the James P. Johnson set will be reprinted, but he couldn't say yet when. The Clifford Jordan is still a "maybe".

I've privately discussed what I did with a few people and tried to explain that in my view the direction the deleted thread was taking had nothing to do anymore with the original topic, the state Mosaic is in; it had been taken over almost entirely by discussions about streaming etc., which, like Paul Secor said upthread, is of no relevance since it had been established that there won't/can't be downloading etc. at Mosaic. I talked with one of the moderators about it, but got a negative response, which pissed me off in such a way that I overreacted and deleted my first post and with it the whole thread. I acted too quickly and apologize for that, especially since responses concerning the actual topic went down with it. It's clear that my idea as to how a board should be moderated is very different from how the mods see it and that's fine, but it's also clear that this isn't my place (anymore) and I should never have returned. I only got back here because I wanted to give Mosaic some kind of boost and I hope it did, if only for a while. As I told one of the mods it's OK with me if the deleted thread can be recouped and reinstated, but I have no idea if that can be done. I'm out of here now.

A few years ago I had promised myself never to post here again (hm, never say never...), but this is too important in my opinion: earlier today I've been in contact with Mosaic's Scott Wenzel and he told me that they're in very bad shape. Their customer base is dying and, of course, downloading isn't helping - for those wondering why downloads aren't offered by Mosaic: no record company, big or small, is allowing them to offer downloads, the licensing agreements are for CD only. And as for vinyl releases, it seems some (most?) of the record labels they're dealing with are hesitant to license stuff for release on LP. Jazz is a niche market and apparently younger people are not that interested, even less so because of that download situation. Let's hope this is not going to be end of Mosaic after 34 years... By the way, before anyone starts wondering if posting this is a good idea, Scott explicitly asked me to tell everyone I know about their situation.

He said you're "being an ass", which means you're acting like one (ie, stubborn and obstinate) not that you actually are one. I really don't think this is worthy of filing a report and frankly I found your response to Lon far more rude than Stefan's response to you, especially considering all Lon did was offer his opinion (the entire point of a message board) in an attempt to help you. Well, thank you for making your point so clear. Needless to say I see things quite differently, but I think I'd better stop here before I post something I might regret later. [edited] Sent you a PM.

Call it what you want, but I don't like being told what I would like and what not. Anyway, I'll not respond to your "sonic posts" anymore. I can only hope you'll do the same with mine. That is just being an ass. There was nothing patronizing about his post. This discussion has been all along about the character of sound for these reissues, which have been enlightening, to say the least. Don't want to be told? Then go back to the Hoffmann board. If being called an ass is not a personal attack, I don't know what is. If you don't agree with my perception of Lon's post, fine, but there's no need for insults.

Call it what you want, but I don't like being told what I would like and what not. Anyway, I'll not respond to your "sonic posts" anymore. I can only hope you'll do the same with mine.

Please don't tell me what I probably would or would not like; you know nothing about that. To me it comes across as patronising. As I've noted before, we have extremely opposing views and preferences when it comes to sound and its reproduction and I'd suggest that we do not comment on each other's posts on that subject anymore. Thank you.

Wayne Shorter's Speak No Evil arrived this afternoon and I just did a quick comparison of the first 2 tracks on my BN Works version and the TYCJ. The BN Works sounds a bit "flatter", with less depth than the TYCJ; however, the latter sounds more aggressive, more "in your face" to me, especially the horns. Overall, I found the TYCJ less easy on the ears, more fatiguing.

Hiroshi's service was the best I've ever encountered, on par with or maybe even better than Mosaic's. Great memories. By the way, he's still active on Facebook.

I sold my individual Ornette Atlantic CDs when I got the Beauty Is a Rare Thing box; the sound on that box is good enough for me and, as I said elsewhere, I like to hear the tracks in recorded order. As for the Billy Taylor One for Fun remaster that I played earlier today, I just found out that I have the Japanese remaster from 2006, WPCR-25140. Judging by Late's assessment I wouldn't be surprised if they used the same remaster for his version, it might just be a reissue of the earlier one. Anyway, mine really did sound bad.

No pictures here either. [edit] The quote function does work for me.

Also played Charles Lloyd's Dream Weaver in this series. I never really liked this album but thought I'd give it another try; after a few minutes it became clear that it's not for me. I didn't like the sound on this reissue very much either, but it's not as bad as the Billy Taylor I listened to earlier today.

I got a few of these WPCR CDs and listened to them only once many months ago. I found most of them a tad too loud, as I posted earlier. After reading Late's post above I just listened to Billy Taylor's One for Fun again and I totally agree, it's way too loud; very unpleasant and fatiguing.

Nope, it was Philips that released those Richter solo recordings, but since the demise of Philips their recordings are reissued on Decca by Universal. Here's one of the Philips Richter sets, released in 1995: