Daniel A

Magnepans would eat your amp alive. So would perhaps the Dynaudios too... I just checked the "Recommended Amp. Power" in the specs for the various Dynaudio models. Contour S1.4: Small size rooms: >30 watts Medium size rooms: >80 watts Large size rooms: -- watts ( http://www.dynaudiousa.com/products/contour/s14/s14spec.htm ) Audience 52: Small size rooms: >25 watts Medium size rooms: >65 watts Large size rooms: -- watts ( http://www.dynaudiousa.com/products/audien...2/aud52spec.htm ) At least my amp would still manage in a "small" room... Allthough I've heard that the rated power was a bit lower than the actual output. I've always loved the sound of the H/K 930, so I'd like to try to hang on to it. Is there any point of getting a separate power amp to it?

You're right, in a component burner only 'audio' CDRs may be used. I rather meant to say that using 'audio' CDRs in a computer burner may produce suboptimal results. I thought maybe that had been the case, but as you're only using a component burner I can only think of the aforementioned compatibility issue as the reason; some CDRs brands just don't work so good with some burner brands.

No, it's no chordal intrument at all!

I've just listened through the disc once (except for a few tracks which demaded to be played again), so here are some short comments (without having tried to use the AMG) 1. This sounds very much like a Kenny Dorham thing, allthough the alto flute at the end had a ring of early 70s film music to it. Maybe something Dorham wrote for another band. 2. This sounds a bit European in concept. Could the trombonist be Julian Priester? I liked the trumpeter better, though, who sounds like a cleaned up 60s version of Chet Baker. And, as has been mentioned, the drummer must surely be Max Roach, or...? This sounds like an album I might get soon. 3. I have the box set which contains this track, and it's all very enjoyable. It's very sad that this sax player didn't have the chance to stretch out like this more often. If he did, it didn't get recorded anyway. He's a favorite of mine! 4. Not entirely to my taste. The sax player is pleasingly soft-toned for the context - I had expected more screaming. Well, I can't think of anything more to say about this... 5. A mid 90s recording? Nice playing, perhaps a tad too "cold" to really involve me at first hearing. 6. The sax player really sounds sounds at least one generation older than anyone on the previous cuts (which could go for the bass and drums, too). Especially his vibrato... This is probably someone I "should" know about. At least the sax sounds familiar in some way. 7. This track really had me intrigued! The trombonist clearly has listened to J.J. Johnson - I heard a few signature licks - but he really doesn't sound like J.J. My guess is that both the trombonist and the tenorist are fairly obscure players. It sounds like it was recorded in the late 60s, and by then this kind of soloing wasn't even mainstream any more. Nevertheless it appeals to me, especially the trombone solo was nice. The big band parts are rather rudimentary, but effective in their own way. In the more climactic passages the lowest brass and sax parts are voiced in way that Oliver Nelson favoured, except that his arrangements always had more of a 'Hollywood' vibe to them. I'm really curious about this one! 8. The bass sound is about as much 80s as it could be. Is it recorded in the mid 80s? On a sidenote: I recently realized that I have at least four times more recordings from any decade from the 50s up to the 2000s than I've got recording from the 80s. 9. This track was fun! I could not help smiling when I heard the bass solo, not even the third time I listened to the track! Throughout the cut I keep listening the most to the bassist, but the sax is good too. I didn't think I could enjoy this kind of playing, but apparently I do! Great! 10. Not a clue. The rhythm section sounds like authentic beat players rather than jazz musicians. Not my cup of the, allthough the Rahsaan-type whistles were a bit fun. 11. This made me a bit nervous, allthough I didn't exactly find it off-putting. We'll see if I get to like it more... but I'm not sure about that. 12. As someone said, virtousic trombone playing. But I find it a bit hard to really enjoy it. 13. A nice shift of pace. Interesting to hear once, but I'm not sure I'll return to it soon. 14. This is about as sweet playing I've ever heard! I get the feeling I'm suddenly in a pleasant dream. Exquisitly performed. But perhaps a full album of tunes like this would be too much. 15. I've had trouble getting into solo saxophone playing earlier, but I found it rather easy to sit through this, and even enjoy it. Perhaps it's like piano-less recordings which I once despised, but a few years later it didn't matter at all... by the way, that IS the theme, right?

Like chris said; as standalone CD burners typically burn discs in 1x speed, or perhaps 2x or 4x at a maximum, CDRs designed for use in these recorders may not be optimized for high-speed burning, as opposed to computer CDRs. So when such audio CDRs are used in a computer burner (some of which - like mine - cannot burn slower than, say 8x speed) in speeds like 16x or even faster, the error rate may be higher than if computer CDRs had been used, thus causing extraction from the disc once it's burned to be more problematic. On the other hand, if you're having problems copying them in a component CD burner it may just be a matter of bad compatibility. Such things happens in the world of CDRs.

Thanks for the recommendations so far! I'll definitely give the Dynaudio Contours a listen, allthough I think they'll be just a bit too expensive (I think it was the Audience 42's I tried a few years ago). I'll probably try affordable models from B&W and KEF, too, as well as Magnepan (if I can find any). Lon's suggestion looks interesting, but I suspect that it may be difficult to find any to test over here.

If by 'burning the file to a CD' you mean burning an audio CD, playable in an audio CD player, the files have in fact already been converted to the WAV format by the burning software. If there's a difference between the sound quality of that disc, and a disc of files converted to WAV before the burning, it appears that the MP3 to WAV conversion of the burning software is flawed. Regarding the overall sound quality of MP3, one has to keep in mind that serious MP3 compressing software offers an large number of different settings which affects the resulting file size as well as the sound quality. I'd say that on a good stereo setup the difference between a typical MP3 file and the original source is perfectly audible, while an MP3 file compressed with a good software (such as the LAME MP3 encoder) and without too much compression (an average bitrate of around 200 kbps, which gives a compression ratio of about 1:7) is very hard to distinguish from the original.

I don't think there is an overlap, John. The last threads seems to be dated October 19, 2001. In the next-to-last thread in the 'Forum Suggestions' forum ( http://www.bluenote.com/bulletinboard/ubb/...TML/000202.html ), bo (remember him? - the last sane person in the BNBB-related staff ) responds to the comments regarding a then recent change in the color settings with: "Well, it's Jason playing with the color scheme in preparation for the launch of the redesigned site (to be launched shortly)." As I remember it the board was closed for a couple of days before the updated software was implemented. The trick of linking to a particular thread in the old layout only worked for threads created before the cut-off date (as it seems October 19th), and only posts up to this date was displayed.

Why didn't anyone think of this before... From the item description: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...item=2584899175

Later this year I'll hopefully afford some new speakers to my system, and as we're moving to a bigger apartment in February we'll also have an opportunity set up a dedicated room for reading/music listening, which of course adds to the fun of setting up the equipment in the best possible manner. Actually, my early 90s Jamo CL25 speakers still sound fine to my ears, despite the manufacturer's slight reputation. The biggest problem is that they're ugly - they're covered with some kind of white plastic. For some time I was playing with the thought of somehow refinishing them, but it will probably not be worth it. A few years ago I looked around for a pair of new speakers, but perhaps without investing too much effort. I remember testing some of the cheaper Dynaudios (can't remember what model, but they were around 600€), but I thought they lacked bass. Not that I'm obsessed with bass - I listen almost exclusively to acoustical jazz and some classical - but I thought my old speakers (admittedly about three times bigger) had a much more 'effortless' reproduction of, say, an acoustical bass. I tried a pair of B&W's too (probably in the same price range, or perhaps just a bit cheaper), but found them a bit harsh sounding. I didn't test any speakers with my particular amp - I can imagine what the clerks would say if I dragged my 30 year old H/K to the shop... Anyway, I'm looking for recommendations in a price range many of you would describe as 'budget', some 1000€, or just over $1200 at a maximum, but it's what I feel I can spend on a pair of speakers. As mantioned my amp is a Harman/Kardon 930, with a rated output of 2x65 watts at 4 ohm, or 2x45 at 8 ohm. Last time round I was surprised to find that the universally heralded Dynaudios weren't much better than my old speakers - has a decade with them made my ears think that this is how speakers "should" sound?

I meant the latter! I'm not questioning Monk's abilities... ...and not this guy's either! I just think he peaked earlier.

Finally, I've had time to play through Disc one. Hopefully I'll have a few more comments before the discussion moves to the next thread... Disc One: Track 1: Not Monk, to be sure. This is from a pianist who has a smile on his lips a bit more often. (And who I think played better twenty years earlier) Disc1-Track1 Track 2: Nice enough, but I haven't got a clue. Track 3: I'm sure I've heard this before. The theme sounds almost like it could be some circa 1960 George Russell, but the piano player sounds nothing like him. The trumpeter reminds me of Blue Mitchell, except that the sound is perhaps a bit brassier. I'll have to listen to this again. Very enjoyable!

The reissues have been delayed until mid-January. There are now rumours that they are in fact not mastered from analog tapes, but the same digital masters as the CDs. I've still not decided if I should cancel my order (which was somewhat cheaper from Early Records than from Red Trumpet BTW ) for a few of them or not... http://www.musicangle.com/shownews.php?id=29

Your speculations do sound plausible, SS! As a great fan of Corea's 60s work I sincerly hope that these sessions are released in full some day! From the mystery session take of 'Windows' it appears that it didn't go into the can from lacking musical quality.

I think the E-flat contrabass is also known as a 'contra alto clarinet'. Maybe that was the reason for the confusion? Not intended to sidetrack your 'Passing Ships' thread... B)

Thanks, Jim and Mike! What makes me curious, though, is that Swede is listing a different date for the first 'Sweet Rain' session, and he also gives When The World Was Young instead of I Didn't Know What Time It Was as the last unissued title. I wonder what source of information he has. Regarding the mysterious session with Swallow and Haynes I'll continue with some research. I'm planning to contact GRP/Verve (a closer look at the box set revealed that it was issued by GRP rather than Stretch), but honestly I don't think it will lead anywhere. Their website doesn't give any email address. At the bottom of one page there was a 'Contact us' link (which probably was left there by mistake), but I was only directed to a useless FAQ page...

So when did the session with Swallow and Haynes take place? A take of Corea's 'Windows' with Getz, Corea, Swallow and Haynes was included in the 5 CD box 'Music Forever and Beyond' on Corea's own Stretch imprint. This is the info in the booklet: ------------------------------------------------------------------------------------------------ Windows (6:32) (Chick Corea) MCA Music Publishing, a division of MCA, Inc. (ASCAP) Chick Corea - piano Stan Getz - saxophone Roy Haynes - drums Steve Swallow - bass from a 1967 unreleased recording at Van Gelder Studios. Under license from PolyGram Special Markets, a division of PolyGram Group Distribution, Inc. ------------------------------------------------------------------------------------------------ I was under the impression that tracks from this session were to be included on the cancelled reissue of 'Sweet Rain', but apparently I was in error. Anyone around with a discography who could check the aforementioned session?

For some previous discussion/rumours etc. regarding unissued tracks from 'Sweet Rain', see this thread (some 10-15 posts down): http://www.organissimo.org/forum/index.php...3&hl=sweet+rain I have no discography, but at least the track I'm referring to in that thread is from a completely different session, with Steve Swallow and Roy Haynes instead of Ron Carter and Grady Tate. It's nothing short of excellent...

Couldn't it be something else than money? Perhaps it's similar to questions like 'Was this recorded in Hackensack or not?'. Why would the location matter if the music is good? It doesn't, but people have different interests. And in this case I can't see why one would automatically be less interested in the music just for wanting to know more about the labels.

It's closer to easy listening than the typical jazz-bossa album of the day. Minimal solo space, which is used very cautiously too. I think this album was also released as "Love Me with All Your Heart" on Vee-Jay. The year of release (possibly recording) is given as 1964 in this discography: http://www.bsnpubs.com/veejay/veejayb.html Look for catalog no. VJ*-1096

The 'tk' stands for "take" rather than "track", so it's just indicating in which order the different tunes were recorded. There appears to be two take five on the session you-re listing. My guess is that the sesion was done in two halfs, but on the same day, hence the take count was restarted somewhere along the line.

Ronnie is a veteran on the Swedish scene; he played with boogie-woogie pianist Charlie Norman for decades, as well as hosted several bands playing jazz (mostly) somewhere between swing, bop and mainstream. He's still playing, but I'm not sure how much. He's been involved in rehabilitation of stroke patients through 'Rhythm Therapy' for some time (Link: http://www.viewzone.com/rhythm_therapy.html ). The club mentioned on the page Jim linked to is more of a club within a club: an irregular feature for him at the legendary Stockholm enterprise 'Nalen'. A picture from Ronnie's 70th birthday celebration in 2002:

See this post by P.D. for more alarming indications: http://www.organissimo.org/forum/index.php...=80entry83115 Anyone else who has been in touch with Bill? His last post here was from March 17th, and on AAJ March 20th.

Me, having a burger in Oslo last summer:

I got a first pressing locally for $45 just a month ago! I couldn't imagine it was going for that much!!! (I even started a thread about that album: http://www.organissimo.org/forum/index.php?showtopic=4639 )