Daniel A

Neither have I.

Brown/Roach's 'Study in Brown', 1950s Dutch Emarcy pressing bought by my father when he was fresh out of military service ca 1959. The front cover lists "Ulcer Department" instead of "George's Dilemma", and Wikipedia "claims" the tune was known also under that title, but doesn't explain why, and I've never seen it anywhere else. Anyway - this is a perfect album! I really like that Jamal album! I often find him a bit too "cold" but not here. Do you also have the "quadrophonic" pressing? I have it, and it sounds good. A guy played me an earlier stereo pressing recently, and Interestingly it sounded worse; one side had very weak bass. Unfortunately, it lacks one of the better cuts from that session out of time restrictions.

Please note that Reinier's shipping policy says: All given standard shipping prices are registered and insured unto €100. Other options available on request.

I've got a pair of these - a compromise between interesting exterior and superior sound? :-) They are late 60s Sonab OA-6 type 1; active, tube-powered bass reflex speakers, each with four cone tweeters pointing in different directions, an upward-facing 8-inch mid-range and a downward-facing 10-inch woofer. After 50+ years, the coating is still dripping down on the lattice.

The programme director of Original Jazz Classics?

I guess there could be many reasons for owning more than one piece of equipment of the same type. I own several wristwatches. Do I need more than one to tell the time? I might want a couple to match different clothing, various occasions etc. But then I may also be interested in watches from design and historical perspectives. And then, there is the always luring "collector" perspective; to research various models and hunt for them. So although I don't have the space and funds I can see why some would want to have a lot of high-end audio gear. And they can still like to listen to music as well.

Sorry to hear. However, it seems to be available at Discogs at a price we all used to think was reasonable for a double CD in the old days.

Totally amazing! Thanks for posting!

Ah, I see! Thanks for straightening this out. Then it seems as if some other releases have the incorrect, longer take as the master take. Both my own budget reissue on Charly Records and another 70s reissue LP on GNP Crescendo (I suppose they are legit, but they are not handsome) I heard recently had the longer take with a bass solo instead. Then I checked the album on Spotify - seemingly a legit upload by Concord Music Group - where they also have the wrong take listed as the master take. The same seems to go for all the streaming platforms: https://music.apple.com/us/album/introducing-wayne-shorter/1442283034 It's great to have the expertise of this forum when the world is confusing!

Thanks, Bertrand! But I thought the longer take was the master take. Also, the solo order is different. On my Japanese LP, Lee has the last solo and there is no bass solo (it sounds like an edit between Lee's solo and the final theme).

On the Vee-Jay album 'Introducing Wayne Shorter' there is a tune called Down in the Depths, where Lee Morgan's solo infamously breaks down towards the end. I recently got a Japanese version of the LP from 1981, catalog number RJL-6004. When I just played it for the first time I noted that a different take of the tune was used for the release, presumably 'take 3' which was on the Mosaic set (and elsewhere, of course). Was this a one-time mistake, or an intentional effort to "improve" the album, or was this take used as a substitute for the original master take (which might be a composite for all I know, but I don't own the Mosaic set) also on other re-issues of this album?

Agreed. I started getting into jazz in my early teens in the 80s, and at that time I was largely unaware of the young lions. It was more Oscar Peterson/Red Garland/Miles Davis/Coltrane and then a lot of Blue Note. In the 90s I was sufficiently aware of the scene to catch the "second generation young lions", like Nicholas Payton, Christian McBride etc. I don't listen to their own albums much these days, but the trio album with McBride and Payton is an exception. Whitfield is a bit bland, but I like the contributions of the other two:

Yes, I work with these matters in my daily job, and you've got to assume that any online vendor that is not just a one-man business with a storefront is as intrusive (or worse) in the way they monitor your online behavior.

Ashley Kahn's book on the Impulse label, "The House that Trane Built", gives 1966 as the year of recording, but does not state the source (which it neither does not for any other album or session, of course).

Let me begin with admitting that I like a small amount of dead wax, even if only for unscientific reasons - it just feels to me as if the available space has been used as much as possible. Especially some old RVG cut albums seem to succeed in this regard. But there could be a downside to that, I suppose. Groove speed is lower close to the label, and depending on the source material on the very last track (or last part of the last track) you might want to avoid that. Also, tracking error is greater towards the end of the side. As for the groove width "settings", aren't they using "variable pitch" these days, so that it depends on the input signal? So using the same settings - to get the same objective sound quality across the entire album - could generate rounouts of different size if there are differences in loundness/amount of bass. But if the difference could be as great as in the "Basra" case, I wouldn't know.

From this source: "To make a fast buck Alan Grant decides to bootleg a bunch of tunes from these two nights. Although Klabin owns the rights, Grant never got permission from Klabin to release it, never credited Klabin as the engineer and never paid the musicians. Essentially, Grant did an end run and went to BMG/New Zealand to print 2,500 copies. Jason Blackhouse (from Auckland), not Klabin, is credited as the engineer and liner note verbiage throughout only trumpets the 7 February recording date. As David Demsey, director of the Thad Jones Archive has pointed out, the implication is that Blackhouse was the engineer on hand at the Vanguard. Moreover, misleading listeners into believing that all the material derives from the first gig was equally duplicitous. When Klabin learned about the release he was furious. He hired a detective to find Grant, who was living in Florida. Klabin telephoned Grant and said bluntly, "What's going on here? How can you do this without giving anyone credit?" Grant replied contritely, "I know, it wasn't a good idea." Klabin left it at that."

Bev left the board when he retired, apparently wanting pursue other interests. Last I heard a couple of years ago he was doing fine.

mark@verve Yes, there was definitely an overlap between this board and the BNBB for a month or so. I seem to recall that they killed most sub-forums that didn't have anything to do with Blue Note (weird that they actually had a political forum!) but then some of us discovered that all these sub-forums were still there, if you pasted in the right URLs. The software was very buggy. Sometimes a thread would "break" so that posts were merged, disappeared, or that you could edit other people's posts. In these thread the mysterious poster "reg" usually appeared with totally blank posts (otherwise a post always had to contain at least one character). The European board appeared before the BNBB went down, but may have disappeared around the same time, or even slightly earlier. It was slow-moving and spam-filled, and serious questions to the label were never answered, as far as I recall.

I joined the BNBB at 27 and this board at 29. Now I'm 47. According to my log 2020 is the year I've bought the least number of CDs since the late 80s. Keeping it up with second hand vinyl, though. It seems as if the median age of the members of this board is increasing with one year per calendar year...

And where is TTK?

However, one of Hampton's best, the solo album he did in Japan, has not been on CD, I think.

I can get back with better flute recommendations later, but the worst flute cover that I would gladly unsee, if possible, is this:

"Sometime in late 1956 or early 1957, John Coltrane visited Blue Note Records to pick up some Sidney Bechet albums. Alfred Lion was alone in the office and asked Coltrane if he'd like to make an album. Coltrane agreed and took an advance check. Alfred told him to come back to meet Francis Wolff and to draw up a contract. Months later, Coltrane ended up signing with Prestige Records, but he felt he had to honor his promise to Alfred and so on September 15, 1957, he made his one and only album for Blue Note. Not coincidentally, Blue Train was his first bonafide masterpiece." https://www.morrisonhotelgallery.com/merchandise/default.aspx?merchandizeID=62

I suppose the Japanese are the masters of fitting things. Well, at least Tokyo residents. I might be able to fit any number of turntables at home in theory, but I would not appreciate the busy look. One of the main ideals of Scandinavian design is 'simplicity', and that may extend outside Scandinavia as well (think Dieter Rams designs). So we might be prone to use the ability to fit things to make things look "less" rather than using up the available space.

Somehow I have the feeling that he had begun to do "commercial" stuff by the mid 60s, and the style seems to fit as well. Somebody should ask him!