mikeweil

Somehow I don't like the undertones of this sentence: . Maybe it's just me, but I always felt the achievements of labels like Riverside, Prestige, or Atlantic are underestimated when compared to Blue Note. I know the arguments pro Blue Note, but still ... Prestige probably would have or has recorded more sessions like this, but they needed money to survive. They rather deserve the credit for recording this in spite of being slightly beneath the focus of their repertoire.

Don Friedman and Attila Zoller were joined in Herbie Mann's group for a few months - that band was recorded at Newprt in July 1963 and in the studio, January to April, 1964.

That's funny you should show this one, as I had Mel sign a copy of this for me one day and he said he wished it hadn't been released! Mark, did he say why? No, but I'm sure I'll run into him in the near future and will ask. Mark This album was a rehearsal session released without Rhyne's consent, and he was not aware he was to be the leader of the date. The idea for this came about when Gene Harris dropped in at the studio when the Wes Montgomery Trio cut its first trio LP, and they showed spontaneous empathy in some impromptu organ/piano duos. Keepnews probably organized ( ) this "jam session" - that's what it is. I'm a big fan of Rhyne, but this is not a superior album, but very hard to find until the OJC reissue.

Try SA-CD.net.

There was some detailed discussion on the Lester Young books available in this thread. After that I bought the reader and find the collection in it very useful an a good pair together with Porter's book. Christiern, how about a Prez bio?

Got mine from Amazon, too - it's nice!

Here 'tis:

Hampton Hawes is not heard on that record, it's Paul Moer. It was a session recorded for VeeJay on the occasion of a Miles Davis Quintet visit to California, to feature Paul Chambers and Philly Joe Jones along with some West Coasters: Bill Perkins, Jack Montrose, and Paul Moer - Montrose and John Graas wrote the arrangements. Two tunes were recorded with Mel Lewis on drums as Philly Joe did not show up on the first day of recording. Don Schlitten somehow got hold of the tapes and released 7 of the 9 tracks with incorrect personnel and tune titles on that Xanadu LP. The session was first issued completely with correct personnel and track titles on a British Affinity LP AFF 56 in 1980. IIRC there was a Charly CD of this, or on some Spanish label.

Oh man, I once passed by an Italian couple having a nap on a bench in a train station, and the odour from their armpits could be smelled at a five feet distance ... so, if sleeping can be defined as some type of working ...

We could start a mutual check by some neutral party, like, from the Netherlands .....

Herzlichen Glückwunsch nach Stralsund!!!! I wish you a great and swinging year in your life! BTW - Big Al's BFT discs are on their way!

Right now, I have only four, but considering I started buying just a month ago, that's a lot! Plan to get me a Pioneer multi-player next year, as my equipment is not high end, this will be sufficient. The discs I have all sound excellent judging from the CD layer alone, and sound much better than the CD counterparts I own, I plan to get more of the Fantasy SACDs, and the Sonny Clark Trio remastered by Steve Hoffman is already on its way. The ones I have: Wes Montgomery Trio (Riverside) Wynton Kelly - Kelly Blue (Riverside) Sonny Rollins - The Sound of Sonny (Riverside) Bach: Goldberg Variations - Jory Vinikour (Delos)

A rare bird - never heard of this. Sounds good, with such a first-class rhythm section.

...... and start the discussion thread this weekend?

I repeat:

Dics are in here, too! Will pass them on immediately. These tests are getting better by the number!!!! A BIG HAND for BIG AL !!! ROTF LMAO B-)

Thanks for writing that up once more, Chuck. Do you remember which label the Terry Gibbs was on? I have that Sonny Criss - it is a very moving album!

Only 3000? I'm afraid most men would prefer a more versatile type of "lap" ... of course, this looks tidier.

That exactly is the reason I hoped there is a player focussing on just that - but considering that jazz fans are a minority, manufacturers probably won't go for that. No average buyer will get machine without multi-channel features. That Pioneer might be something to check out for me - I currently use a Pioneer stable platter CD player that I like very, very much ..... Thanks a lot for the input, folks!

Basically, I'm not. My thought was that maybe there is a player focussing on these two formats giving better value at the same price as a more versatile player - and I can't see myself listening to DVDs on the stereo as I decided to move the TV and video into another room.

Both labels were founded by Don Schlitten, IIRC. He originally ran Onyx during his time with Muse as a reissue label for historical material, but AFAIR there were some legal issues about the material - that is why most of the ONYX material remains OOP. (I may be wrong about the details ...) Xanadu was Schlitten's next label after his departure from Muse, the Silver series was the new recordings, the Gold series continued the Onyx series. Some of it was on CD in France through EPM, some in Japan. Unfortunately I have pretty few Xanadu LPs, and only one CD (the Jimmy Rowles). I regret I never got the Barry Harris albums, especially the one where he plays only Dameron tunes.

Does anybody here know of a recommendable as well as affordable player that handles SACDs and Audio CDs without being able to handle DVDs and all? Thanks!

Just what I wanted to say - nothing too serious. Perhaps I should have added a . In fact I love the Italians and their country and think the Swiss rather overdo some things. Domodossola - the family of one of the local musicians I played with is from there - nice place. If you take the great San Bernardo pass you can see how differently the roads are built and maintained. The Italians are great at building roads through the mountains since the Roman empire, but the Swiss ones are as accurately built as their watches.

I listened to several 1950's recordings with this in mind, and, e.g. on the first Shorty Roger & his Giants session from 1954, Shelly Manne does not sound like he's just tippin'. They may have been playing softer on many a session, but tippin'? When I hear Jimmy Cobb on some Miles sessions, I would agree, and it was reported he and Paul Chambers were getting edgy and "wanted to cook on something". From my personal experience it has a lot to do with the playing technique and drum heads and sticks you use. And this has changed a lot since then. Many "modern" drum sets do not sound as well when played softly. But with calfskin heads and thinner gauge sticks, that's a totally different story. And haven't the microphones changed? It sounds to me as these play a part in the isolation accoreding to their characteristics.

I'd be grateful for an explanation, too. Does it involve compression or is the basic volume level raised or .... ?