Daniel A

Yes, this is a fine album. He had almost ten years s a sideman behind him at this point. I am trying to imagine how it would have sounded if it had been recorded at the RvG studio.

I am almost done cataloging my LPs on Discogs. It has the functionality I need. When I started buying CDs in the late 80s I created physical cards for every item. Then I switched to a paper based list, just to document where and when I purchased them and how much I paid. 20 years ago, I switched to Excel, though I might eventually go all Discogs. I rarely buy CDs these days. And (luckily) I never kept track on how much I have spent on LPs!

"These new cassette buyers are part of the digital music generation, Stepp explains. But the problem is that digital music has an inferior sound, because the files are so compressed. [...] " Producers of digital recordings continue to strive for the harmonics cassettes can capture."

I am not so sure all of these will be repressed. Those of you who have followed the full thread are aware of the problems with some titles, especially early in the run. Many people didn't care or notice, but they could potentially risk an increased number of complaints if these titles were released again. And remastering them again is surely out of the question, especially if there is some tape damage involved. These releases are not worth this kind of money. If you want the titles on vinyl, there are other good sounding versions that are less expensive.

Clare Fischer 'So Danco Samba', Japanese King pressing.

But Coltrane *is* playing on these tracks, right?

Double quoting does no longer work, but I meant Bill Nelson's post.

I suppose the comment on sound quality was a joke. But regarding bootlegs, it appears that Crown sometimes seems to have had access to orpginal Pacific Jazz tapes, so I wonder what the deal between the companies was. The reason for my conclusion regarding tapes is the information in this thread: where it seems as if tracks were released on Crown before the same versions (unedited, stereo versions for instance) had been released by Pacific Jazz themselves.

I just did a search, and found that Chuck has sighed 58 times in these forums. Only two times before 2011, but two times already this year. You're welcome to share what would cheer you up.

I see the CD as an inconvenient storage device for a handful of digital files, coupled with either a jewel case that often cracks or a digipak where the holder often breaks. The only thing it does better than a cloud file storage is that it comes with a booklet. Despite several shortcomings in comparison with the compact disc, the LP is nicer to handle and look at as an object, and comes with more authenticity for anything released before the early 80s. The CD revival will not match the LP revival by any means, I think. I disagree with the author on this point, however: "They were less glamorous than vinyl, less cool, less tactile, less sexy, less magical." When the CDs arrived in the 80s, they seemed to have a lot of "magic" to them.

Colored vinyl, eh?

Just listening through some recent purchases from Japan. King pressing, though it has VAN GELDER stamp in the runout, so presumably they did use stampers from the US. Maybe I shouldn't say that The Singers Unlimited never sounded better than here, as this is the first or second album they did, but that's how it feels to me. A bit unusual to find an MPS album reissued on the Columbia imprint. I have also a German pressing, but wanted a spare copy as I am not happy with the remastering of this album on the "Magic Voices" 7 CD box. This one has some good early Cedar Walton. And I always like Jaspar.

This thread also got me interested in seeking out more 60s Paul Bley! It seems as if there were actually two different versions of "The Floater Syndrome", and this one has all 15 tracks: https://www.discogs.com/release/2985218-Paul-Bley-With-Steve-Swallow-Pete-LaRoca-The-Floater-Syndrome

There are many varieties over here. Those that perform best in tests - both in terms of durability and Ra value, but also among the cheapest - are usually IKEA LED bulbs.

This is a good budget alternative that has served me well: https://www.amazon.com/Spin-Clean-Record-Washer-MKII-Complete/dp/B002UKSZUU

As a piano player, I'd like to think that you'd probably play it with crossed hands (if at all). The range is almost only half of a standard piano.

Oh, you got Multidirection in there! Been looking for it forever. Let me know if it doesn't appeal to you.

I suppose he was asked to. I found this clip from some Parker tribute:

There are many lawyers here. We will take your case.

I believe the sax part was played by Swedish saxophonist Klas Lindqvist. Here's his own band:

When I browsed through the (now gone) mass of Frank Wolff photos at the Mosaic site, I noticed that there were several photos of Duke Pearson from well-known sessions by other artists ('Maiden Voyage', 'Speak No Evil' and others). This was from the times when Alfred Lion still did the producing, and Pearson is not credited on these albums, so what would his role have been at the sessions? Maybe this is explained in one of the many Blue Note books I've yet to read.

TTK, have you read this book? I have it, and it has lots of information (some of which you already know, I'm sure). Elevator Music: A Surreal History of Muzak, Easy-Listening, and Other Moodsong

What could happen in the long term? Are you referring to our lifetime or even longer? If the objective is that they should remain possible to read, it seems as if it would be sufficient to keep them in each box.

I have this Mundell Lowe album, but it was a really long time since I played it. I recall that I found it a bit low-key. What are your impressions?

Barry Harris recorded for MPS as well. I maintain that it could - or even should - have happened (Monk recording for the label). Let's say three or four trio albums, a big band date scored by Francy Boland and a quartet session with Lucky Thompson. Maybe also a misguided attempt involving some synths (tellingly marked as "rejected" in the discographies).