Daniel A

Perhaps Cuscuna is not to be taken literaly? I got this a few years ago and it wasn't too expensive. I would think that there are at least a few early 70s misfires which are as rare, if not rarer, as well as a couple of the later Bobby Hutchersons. But they are perhaps not considered as "true" Blue Note releases since Frank Wolff too was gone by then. Anyone who remembers Moacir Santos?

Thanks again, Claude! I'm still a newbie when it comes to more advanced turntable setup - the links were exactly what I needed!

Claude and Patricia; many thanks! Since the stylus is working, I'll probably keep it for a while, but, yes, the fact that Shure is no longer manufacturing them makes me want to move fast anyway. The link to the Vinyl Asylum - that site is new ground for me, even though I've had a turntable for many years - was very good to have indeed! (As was the arm weight / compliance info) The V15 IV cartridge has a built-in brush, which collects dust from the surface of the record, but is said to mainly function as a stabilizer. I wonder if it's such a good idea to use it - that feature doesn't seem to be common nowadays, if it ever was.

All suggestions duly noted! Thanks! I haven't seen any of the Smithsonian sets around here, allthough they seem to be something like what I'm looking for. Anyway, I'll probably put together one or two CDRs from my own collection - of course including informative liner notes penned by myself! Regarding the issue with old vs. new recordings, you nailed it, Dan! And, as you said, something contemporary at the end is a good idea too! I've gotten a lot of good suggestions here - thanks everyone! I'm getting started... as soon as I've stopped playing with my new turntable, that is!

Since last week I'm spending the evenings listening to loads of LPs on the turntable I just got. I had a deal on a Thorens TD 160 worked out when I stumbled across a TD 125 MK II with an SME tonearm in close to perfect condition - I didn't hesitate long since the price was about 130 Euros. The cartridge is a Shure V15 IV, and while the sound reproduction is absolutely perfect I'm thinking of getting a new stylus since I don't know the mileage of the old one. It appears that Shure is no longer manufacturing this stylus, allthough some dealers still seem to have a couple in stock. One shop I spoke with asked an unbeleivable 330 Euros for a replacement stylus! The best deal I've found on a Shure stylus is 155 Euros. Is it worth the money? A non-original stylus for the Shure pickup made by Huco, Switzerland (I've no idea of their reputation) can be had for about 50 Euros - a better deal or not? Is it at all necessary to switch the stylus when the old one sounds good?

Is #10 still not taken? In that case.... I'll sign for it!

There have been advances in digital audio technology since the 80s. You have probably heard that the sound of many of the early CD releases in the 80s were accused of 'harshness'. You have a point that how well the job was done matters more than when it was done. However, if a remastering was done in, say, the mid 80s, there are all chances you could get a better result if it was done today, given that the master tapes haven't aged too much. Besides, many remastering jobs in the beginning of the CD era were, according to some speculations, put together in a haste to get CDs out fast, without too much care.

What jazz tunes/recordings would you consider as the most "important"? The question is a bit imprecise, but I'll try to elaborate: My girlfriend has never been that much interested in jazz. In fact - she's not interested at all. She likes music, but not improvised jazz, that's all. And I've long since given up trying to "covert"/introduce her to jazz, because it seems rather pointless to try to make someone to listen to a kind of music he or she doesn't really want to hear. She is accepting my great interest in jazz, and I'm accepting that she rather listens to other kinds of music (should I say more "popular" kinds). However, she would like to know more about jazz on a more "intellectual" level, such as important artists and recordings, so she has asked me to compile a CD as a first introduction to jazz in general. Naturally I want to cover several eras, but I want to avoid more extreme kinds of jazz, like avant-gard, or even post-Atlantic Coltrane, because I know she wouldn't even listen to it. Probably the collection will be cenetered around the period of, say 1940s to 1970s So, what should I include? I know it's an impossible question, but I would appreciate a few suggestions. So far I have two titles ready: 'So What' and 'Take Five'...

Somehow I missed this thread! I fully agree with Dan's suggestions, as well as the idea that the compiler should have total freedom when it comes to selection of material.

Just so this kind of deal wouldn't pass me by again, I was determined to read all the ads very closely. Yesterday again I spotted something I couldn't believe. A Luxman LV-105 tube amp and T-105 tuner - for 55 Euros!!! I've now realized that ads are free if the price is up to 500 Swedish Kronor, which is about 55 Euros, and that people who don't know how much the stuff they're offering is worth is asking for that price just so that they won't have to pay for the ad. When I finally got in touch with the seller I learned that the equipment was sold early yesterday morning. Now, I really don't need a new amp, so perhaps I should stop reading those ads...

I believe Chris partially answered this in a post in the Weinstock thread:

I hope you will adapt back to normal from our depraved European lifestyle without problems, and that you'll be back here at the board in a matter of time! Good luck, Erik!

I've been using a Technics SL-1210 for ten years, but I'm just about to get a - guess what - Thorens TD 160!!! I've been thinking of getting a Thorens for some time now; they can sometimes even be found very cheap here. Just yeasterday I spotted an incredible ad in my morning newspaper: someone was offering a complete stereo (including amp, tuner, cassette deck, speakers AND a Thorens turntable) for 50 Euros! An elderly woman told me on the phone that it was all gone of course; the ad had been in the paper the day before too, Sunday... I was initially set to find a TD 125, mainly because of the nice design. However they appear to be rare over here so now I'm getting a TD 160 instead. I'm actually trading a wrecked drum kit I used up to my early teens for the Thorens, which a friend of mine found on a dump! Incredibly, it's working fine, but I think I will let some HiFi look at it before I'm playing any rarities. The rest of the setup is: Receiver: Harman Kardon 930 (from 1973) CD player: Harman Kardon HD 7325 (1994) MD deck: Sony MDS-JE 530 (2000) Speakers: Jamo CL 25 (1992) Headphones: Grado SR 60 (2000) I stored away my cassette deck a year ago (a 70s Akai) because I never used it. Actually I very rarely use the MD deck; mainly for recordings from radio. When I feel I can afford it, I will probably invest in a new CD player with burning capabilities. The next thing to upgrade should probably be the speakers. I tried a few years ago, but found myself dissatisfied with the sound of all speakers I could afford (in the price range 500-600 Euro). Jamo does not have such a good reputation from what I've heard, but I still thought they sounded better than the Dynaudios people were recommending me. Someone suggested that it was because I had gotten so used to the sound of my inferior speakers... Anyway I'm happy with them for the time being. I happened to get into a HiFi store as someone was testing a tube amp once (incidentally by playing the Duke Ellington Columbia LP 'Jazz Party in Stereo'), so I know how a really good setup can sound, but I don't let the shortcomings of my system distract from the music.

The only time Mosaic has left out anything from original LP releases in a "complete" set?

Courtesy of Lon, I would describe this whole matter as a bit "internetish".

My suggestion in that category: Joe Henderson's 'Punjab'. A great tune, which (to my knowledge) have not been done without horns. What a great idea this is! Is it possible to pre-order?

Yes, good tunes, I agree. In fact, several excellent themes which are seldom covered, such as Duke Pearson's 'Yes or No'. But Morgan is 50 percent patented licks and Mobley sounds tired and out of tune. Walton is the star of the session, IMO.

In the U.S. perhaps, but not here. Upon my question the owner of a record shop said (which may be true or false) that a few titles did not have distribution in Sweden, apparently by decision by the Swedish subsidiary of EMI.

Has someone else than me thought of the fact that Cowell more frequently than most other pianists does not solo when appearing as a sideman? A great pity since he's such a fine soloist. I can think of several recordings under Hutcherson, Stan Getz, J.J. Johnson and others where Cowell does not take a solo on every track. I'm not saying that everyone in a band should solo on every tune, but it appears that Cowell chooses not to solo more often than I want him to!

I can safely state that I've never seen 'Jazz Immortal' in any of the shops I visit frequently. I've heard that some RVG (and Conn) titles aren't distributed in this country.

Happy birthday, Conn!!!

I can recall times when I've had to pay additional VAT on my Mosaic orders. Not every time, but it has happened. I don't say that we shouldn't support Mosaic. But it seems that for each penny Mosaic will get from me when I buy from them, I'll have to pay considerably more. In that case, better to buy the set over here and give Mosaic a donation...

A 7/4 said, you don't have to worry about that! Except from the last sessions where he's playing some rather dated synths, it's all acoustical piano or the occasional Fender Rhodes. And he plays very well too, sounding like a mix of Chick Corea and - I suppose - none other than himself. There is a very nice track from the aforementioned 'Merry-Go-Round' album which features both Hammer and Corea on Rhodes, along with just bass, drums and percussion.

The village of Kårböle is said to be situated in the absolute center of Sweden...

I think I read somewhere that the session was intended as a Willie Wilson release on Jazzline, but that it never came out, and subsequently was released as a Duke Pearson album - which, in all fairness, it was to some extent. It appears that Duke did organize the date to help an old friend of his. If I'm not mistaken it was Wilson's only appearance on record.