mikeweil

This is another favourite Stitt CD of mine: It has two LPs, the meeting with Paul Gonsalves and a quartet LP, both with excellent sympathetic rhythm sections and Stitt in fine form, he raises clearly above the level of his many blowing dates, and sound is very good.

Thanks y'all, I'll order them from the US. tjobbe, I have that Tjader - it was unreleased at the time of recording, and Hoffmann's release was its first appearance. There are better Tjader sessions and bands, musically ...

I have read so many positive things about the sound quality of Steve Hoffmann's remasterings of Time LPs on SACD, albums by Sonny Clark, Stanley and Tommy Turrentine, Kenny Dorham, but where can I get them? German mail order shops seem to have only the Fresh Sound / Blue Moon reissues of the same material. Thanks a lot!

Your pleas have been heard: Jazzmatazz announces: Roland Kirk - Here Comes the Whistleman (Water/Atlantic) Apr 13 Charles Mingus - Tonight at Noon (Water/Atlantic) Apr 13

I bought the Prestige/Pablo box set last month and find the sound to be very good - I had the Prestiges on LP and CD and find the new remastering to be slightly superior. I didn't have any of the Pablo albums before, so I cannot comment on them. I got the MJQ 40 Years box set last year, and although I had a lot of their Atlantic albums in some form, it watered my mouth for all of them, so the new Porgy and Bess CD will find its way to my CD bin, for sure. Hope there will be more. Still have to get the Lighthouse CD, and wait for a CD of the Fontessa LP with both the mono and stereo takes!

You mean the new RVG sounds like a Muse LP? Oh my crazy kittens ... Rudy should seriously consider retirement then.

Same here! Besides that, I see some names of doubtful jazz value on the list: Guy Lombardo, Sammy Kaye etc. may have been great artists in their own right, but jazz???

I hold McKusick in high esteem, he was the ideal player for the sophisticated arrangements on those George Russell and Teddy Charles dates. I have the Decca/GRP compilation, and the Fresh Sound LP reissues of the Bethelehem and RCA LPs, and love 'em all - even the stuff with the string quartet. What was the label and number of that single, BTW? Bruyninckx does not list it, only a Coral single with different titles by the "Key Men", and I'd like to pass on the information.

Which is where the African heritage in jazz comes in, because it is common practice in African music to use various differing subdivisions of the beat simultaneously, more often and more consequently than in any other musical culture I know.

Literally translated: The place of creation The place of broadcast I doubt these are musical terms in the strict sense of the word - someone like brownie or Claude should know better.

Indeed! And it's way cheap down in the Naples region. Plenty of buffalos there, no wonder they use it for pizza there. Much better than other cheese for pizza.

That's a legitimate way to view his attitude as a producer - self-indulgence seems to be a sign of the trade, with individual marks - Teo Macero, Orrin Keepnews, Joel Dorn, Manfred Eicher, even Michael Cuscuna somehow show an ego thing of some sort to confirm their importance for the music. There are great producers who just stand back and disappear behind the music - so it's no wonder I cannot come up with any names right now - Chuck Nessa perhaps?

No-nonsense playing? "No-nonsense" in the meaning that whereas Kirk often plays on the verge of gimmickry, which is alright with me, and which I really dig, here he just digs in and plays without superficial jokes or references to the black music tradition. No negative judgement intended.

Great choice!!! Perhaps my favourite Stitt album of all, with excellent playing by all involved!

The one that I missed that I'm really mad at myself for is the Helen Merrill. The Vaughan has a lot of the more commercial stuff, so left it on the shelf. The Brown/Roach is indispensable, IMHO, the Kirk is great. But some used copy should turn up at a reasonable price some day.

The Byard with Kirk is great! Some of Kirk's best no-nonsense playing. Same goes for the Kirk' Work album on Prestige with jack McDuff, although the former is much more outrageous.

It wasn't a matter of focus, but of finances. Dorn wanted to do it on his 32Jazz label and had a release date set when the label folded. He did what he could to reissue LPs by the artists he worked with at the label. If it wasn't for Rhino as an outlet for Atlantic box sets, it would be a nice task for Mosaic to assemble the complete Atlantic recordings of Eddie Harris, Rahsaan Roland Kirk, John Lewis, the Modern Jazz Quartet, Yusef Lateef, in chronological order and, to keep it affordable, separate sets for live and studio dates. Dreams of a jazz fan ...

Prestige Trane Prestige Miles on LP Atlantic Village Vanguard Impulse Quartet Live in Japan Major Works Miles and Trane on Columbia

Yes, it's the one from Brandeis University.

It is on this album, and in a very nice Brazilian fashion! Sings too!!! He plays the North African stringed instrument, the ghembre, on Stanley Cowell's Regeneration.

Hank Jones and Kenny Clarke were for Savoy in the late 1950's. Every producer had his favourites whom he employed as often as possible, at least temporarily.

So you're boozed already?

Thank you so much for sharing this priceless story!!! You got a rough mix copy there at the session or afterwards? I love this arrangement!

If I had the mechanics to transfer LP to CD, I'd send to a copy to compare - in fact both versions would make a great two-part suite. A Jack Wilson - Roy Ayers Mosaic? My comment on this can be found at the end of this thread.

So this is the track I had but did not recognize, and not the Teri Thornton, which I identified after looking through my collection. (My personal BT rule # 2) Just compared the audio on the Blue Note CD with that on your BT - nice to have this as an example to demonstrate the effects of compression. The bad thing about that dreaded device that it changes the sound so much. BTW there is a way with better audio editing software to just raise the volume level without compressing. Compression is used more often than we would like to know - I just discussed this my bassist friend after rehearsal last night. A bassist, he argued, never plays all notes at the same volume level - even with the best technique some note or another will come out softer. But you never, never will encounter a newer recording where you will hear it that way, because the bass tracks are usually evened out and/or compressed. The argument is that volume fluctuations of a bass line would irritate the listener ... That track, BTW demonstrates how close these guys were listening to Tain, Woody Shaw etc.