J.A.W.

Amazon UK Marketplace sellers do NOT subtract VAT from their prices, even for non-European buyers. They do not operate within the same set of rules that "Papa" Amazon does. And yes, based on the US shipping address that you use, any Amazon site knows that you are in the US. When you order from Amazon UK (or DE or FR) proper, VAT is automatically subtracted out from the price listed on the website. For example, if you order an item listed at 10 GBP, your price (as long as your shipping address falls outside of the European Union) would show up as 10/1.2 = 8.33 GBP. Note that VAT percentages are different on the other Amazon Euro sites. Marketplace sellers in the UK are considered to be selling second hand goods, even if they're in 'new' condition, and there can be no VAT on second hand goods because there is no value added in them. MG Not quite true. Under certain conditions VAT is payable on second-hand goods in the European Union. So where's the value added? MG The fact that stuff is being traded is seen as added value; labour is invested. Not my idea, but those are the rules.

Amazon UK Marketplace sellers do NOT subtract VAT from their prices, even for non-European buyers. They do not operate within the same set of rules that "Papa" Amazon does. And yes, based on the US shipping address that you use, any Amazon site knows that you are in the US. When you order from Amazon UK (or DE or FR) proper, VAT is automatically subtracted out from the price listed on the website. For example, if you order an item listed at 10 GBP, your price (as long as your shipping address falls outside of the European Union) would show up as 10/1.2 = 8.33 GBP. Note that VAT percentages are different on the other Amazon Euro sites. Marketplace sellers in the UK are considered to be selling second hand goods, even if they're in 'new' condition, and there can be no VAT on second hand goods because there is no value added in them. MG Not quite true. Under certain conditions VAT is payable on second-hand goods in the European Union.

Another thing: I see you ordered a DVD from the U.K., which is Region 2/PAL, while you're in the United States, which is Region 1/NTSC - are you sure you'll be able to play it if the DVD is not region-free?

Maybe in the Czech Republic...

Has anyone heard these interpretations of François Couperin's Pièces de clavecin (Livres I-IV) by Frédérick Haas - I've read a less than favourable review ("quirky playing" was one of the comments), but I haven't had a chance to listen to them:

Just listened to sound samples of her earlier set and it does indeed sound a lot better, much more transparent than the later one and not as congested/dense. On first hearing and on the very limited basis of sound samples I like her playing better than Blandine Rannou's in Couperin.

Google translation, for what it's worth - I know it's against forum rules to post the entire article, but I thought I'd make an exception in this "Czech case":

Anyone?

Because in some of your recent posts you adopt (and I can only hope you're horsing around by doing so) a rather flowery-genteel mode of speech -- e.g. "I honestly feel that advocating a thrashing is not beyond the pale ... an expression of extreme umbrage" -- which is the sort of thing that led W.C. Fields to use that phrase. I appreciate your explanation, but I have to say two things in response. Firstly - for all I know you were a contemporary of old Fieldy's and hence his turn of phrase still seems current and appropriate in your mind. Secondly - if this is not in fact the case, how would you expect someone else to be aware of this little piece of minutia? Theoretically I could justify any amount of patronising down talk, nay outright vulgarity, and then turn around and say - "Ah, but you see my dear boy, that terminology was perfectly acceptable in '03/'13/'23. However, I will accept your explanation in the spirit in which it was (I hope) intended. And now - back to Dmitri! Nah, when W.C. Fields retreated to the Elysian Fields Larry was only just beginning to wonder what it was all about

You're right about sound samples, but one has to start somewhere; I can't afford to get all the stuff I'm interested in and it's a way to make a selection. I am fortunate enough to have a sound system (Mark Levinson front end and amplification, Quad electrostatics) that can cope with harpsichord music; a good and well-recorded instrument sounds great, a good, well-recorded and well-played instrument better still .

The tempo choices of recent recordings are very adequate - the pioneers of period instrument playing tended to choose tempos as told by 20th century teachings, but research has shown the palette of tempos was much wider, and some were indeed fast and furious. Couperin had a virtuoso side to his playing, too. This is also supported by research on the titles of Couperin pieces and the meanings and persons they refer to: amazon link - see also on Jane Clark's site janiculum Yes, I know, and I wasn't referring to the choice of tempi; what I meant was that the sound tended to be congested in the fast pieces on that particular recording, as if her trying to get somewhere in a hurry (hence the Paddington remark) was making the sound muddy and opaque. I don't know if the instrument is to "blame" or if it's an engineering thing, but I didn't like what I heard, at least not in the faster pieces; I didn't like the piece where Hantaï joins in at all.

The Schornsheim WTC is one of MomsMobley's recommendations I totally agree with.

This is a great set: Amazon Amazon U.K. Amazon Germany Amazon France

Correct, the Atlantic dates from 1972.

I thought this one was relatively dull (though it has its moments). Definitely not on the level of Out of the Cool or Individualism. Gil Evans & Ten is one of my favourite Gil Evans albums, along with Out of the Cool and the two Pacific Jazz albums, New Bottle, Old Wine and Great Jazz Standards.

Couldn't agree more.

Not to quibble...he would have turned 89 come October. So he was born in 1923, not 1922. Thanks for the info. He was born in 1922, see: http://arts.gov/honors/jazz/jmCMS/master.php?id=2012_02&type=bio See Chuck's post, #26.

Thanks Chuck, and my condolences.

I brought it up because I expect and trust serious newspapers like the Chicago Tribune to give the correct info. They said he was 88, while my sources say 89.

Not to quibble...he would have turned 89 come October. So he was born in 1923, not 1922. Thanks for the info.

Yep.

Sad news. According to the Chicago Tribune he was 88, but as far as I know he was born in October 1922, so I guess he was 89.

This is not a box. Chuck has been releasing remastered CDs which include material that was issued in the Art Ensemble box and this is one of them. These were released so far: Roscoe Mitchell: • Old/Quartet Sessions – 2CD-set • Congliptious Lester Bowie: • All the Numbers – 2CD-set Chuck has also reissued several other Nessa albums on remastered CDs these last few years. Why don't you ask him to mail you a list of what he has available?

Also on vinyl ? Please! Chuck has released none of the remasters on vinyl and I don't think he will make an exception for this one.

The Proper set is a European public-domain release, which means that they didn't have access to the master tapes and copied the material from sources like other CDs. This Prestige set sonically seems the best choice to me. Like jeffcrom posted, the recordings are mono, Prestige didn't start recording in stereo until later.