mikeweil

My Japanese CD copy does not mention they changed the mix of that track, if they had I never would have ordered it. That's what upset me, that they did it without notice. I faintly remember listening in a shop to the US version when it was out but no luck, either ...

Sunset Point - ZINFANDEL BLUSH I.G.P. - 2016

On the second track of Lee Morgan's self-titled last double LP for Blue Note, "In What Direction Are You Headed", there is a solo on the musical saw, played by Reggie Workman. When I wanted to replace my LP copy with the CD reissue I noticed they had remixed that track - the saw track's volume was faded down, making it almost inaudible and leaving behind rhythm section tracks of electric piano (Harold Mabern), bass (Jymie Merritt), and drums (Freddie Waits), that sound a bit empty without the soloist. I wonder why they decided to fade out that solo, I think it adds an eerie atmosphere to that section of the track, Anyway - is tthere a CD reissue leaving the saw solo intact? I have the Japanese TOCJ-1632, and IIRC the Blue Note CD 4-93401-2 was the same, saw-less version. Any alternatives for my noisy LP copy?

Yes, they have, but always as bonus tracks to reissues of other material of respective artists. I wouldn't expect such a box set from them. Do you have a statement in that direction from Jordi Pujol ?

Paul Horn, Plenty of Horn (Impluse reissue of his two Dot LPs)

Japanese Liberty reissue of Pacific Jazz LP PJ 1220

Starting from LP 1 ..... Phil Turetzky's recordings sound like home recording, in the positive sense of the word, and they are. But his piano needed tuning.

An indication for that would be that this soundtrack was AT's last session with the pianist. Monk went to San Francisco in October with bassist John Ore, but without a drummer! next regular drummer with Monk was Frankie Dunlop, early in 1961. If you look at the Monk tunes on the preceding studio sessions of Monk with AT for the "Five by Monk by Five" album, two new tunes with phrase displacements, "Jackie-Ing" and "Played Twice", and an older one using that method, the masterpiece "Straight No Chaser". "I Mean You" on the album uses similar techniques. Displaced prases and off beat accents. There you are.

One more thought: Why didn't he let AT find his own way like Roy Haynes and Frankie Dunlop on the (live) recordings before and after the soundtrack sessions? It's remarkable that there is no other studio recording of Light Blue by Monk.

To me that "making of" Light Blue sounds like Monk, too, has a problem in finding his way into the rhythm, but once he starts in the right spot, AT falls out. Maybe he couldn' t hear it properly the way AT accentuated the pattern. Serious rhythmic coordination problems with the off-beat drum pattern Monk conceived. Oh my ... AT never was that good at other rhythms than straight ahead swing, IIRC.

On to disc two, waiting for the car wreck - glad I'm home.

Me, too, just got the last two volumes missing in my collection along with the Handel disc. This is the kind of project that makes me wonder how little German harpsichordists care for the legacy of their own country. During the last twenty years, the majority of neglected German keyboard music of the 17th and 18th centuries was recorded by Italian or American harpsichordists.

JPC was selling several Praga SACDs for a buck a piece ..... Sounds great, and some of the best Debussy orchestral works rendition I have, very detailed, but not as analytical as Boulez.

It's a lot of fun to play this Japanese remaster LOUD!

Finally got my copy. I like Rouse's sound on this much better than on any other recording, a bit softer, rounder, more refined. What I do not like is Arthur Taylor's drumming on Light Blue - what were they thinking?

I like Rouse's sound on this much better than on any other recording, a bit softer, rounder, more refined. What I do not like is Arthur Taylor's drumming on Light Blue - what were they thinking?

Selections from the "Darmstadt Harpsichord Book, played on a great sounding copy of a Mietke harpsichord. Soly delivers a much more convincing picture of Handel the virtuoso as most of her colleagues.

While I'm aware that this release contains recordings made without Mrs. Simone's konowledge or consent, their availabilty now seems a blessing for all of us who never had achance to see her perform, especially during her earlier career, of which this disc gives a good impression.