Daniel A

To me, it seems like a waste of energy to be "annoyed" by someone's comping on a 60 year old recording. What's annoying to me though, is when attention is directed more and more to someone's personal dislike of something than the subject matter itself. Both "camps" may be blamed for that, but it doesn't help with this "sperm donor" nonsense.

You're welcome. Don't hesitate to send me a message if you want information about the musicians/styles appearing at different venues or just need help in general. For how long are you staying?

Two things: While in Stockholm you must visit Andra Jazz: www.andrajazz.com and you must also visit the Glenn Miller Café (from where I came back just minutes ago) http://www.glennmillerprogram.se/ Stockholm's best jazz venue.

For me, at least, the Pike is a nay. The miking somehow picks up Pike's "chanting" to a level where it competes with the instrument. Perhaps not a problem for some, but I find it disturbing. And while it could have been refreshing to hear Bill Evans on up-tempo material in a non-trio context I find his contributions to be far below, for example, the George Russell "N.Y." album (which admittedly is tremendous). It may be ten years since I actually listened to the album. I might try it in the car tonight when I'm going to the recycling station. The Burton is better in my opinion, but ultimately more enjoyable for Jim Hall's playing than Burton's, who I believe still was in his teens. Nothing really sticks out that would make me want to pull this album from the shelf.

I'm not sure if I'll get flamed for being a neo-bop apologist, but I think this is a terrific album that has some of Payton's best work:

Just a very minor correction to a post upthread: composer's rights extend to 70 years after the death of the composer.

The post did not appear condescending to me.

Kevin, When did Cuscuna provide this information and was it specifically in regard to the SHM-CD of Sweet Honey Bee or an earlier reissue (such as the RVG CD)? Since Grundman is transferring the entire back catalog in this new "75th ann" series, is it not possible Grundman came across the master tape for Sweet Honey Bee in the vaults and it was used for this SHM title? Also - if I understand your post correctly, the US RVG CD of Sweet Honey Bee is a dub of a dub of a dub of a vinyl record? For example: US makes a tape of vinyl record -> Japanese receive a tape copy of the US tape of vinyl record -> Cuscuna obtains a tape copy of the Japanese copy tape of US tape of vinyl record --> Rudy transfers a 3rd gen source for the RVG CD. Why didn't Cuscuna just put the word out to find a mint first press vinyl copy and do a new transfer for the RVG CD? So are you saying you are hearing LP artifacts in the SHM CD? Actually, I remember Cuscuna (through someone) asked specefically on the Blue Note Bulletin Board if anyone of the members had a sealed or mint first pressing of Sweet Honey Bee prior to the production of the Rvg reissue.

Lowe arranged the 'Broadway Express' album for J.J. Johnson on RCA. Or at least I'm assuming he's the arranger. While it's about as "easy" as J.J. got in the 60s, I think it displays genuine inventiveness within the idiom and sticks out from other "jazz musician goes mid 60s commercial" albums I've heard.

I recall similar discussions on these forums in the past. And from what I can recall Kevin made an even better case that time! Anyway, the power has travelled miles and miles through unknown cables, splits and converters before it reaches your house. Once inside, even then it has to run through cables within the walls that may not be in the best shape (I know, after having changed the complete electrical system in our house). To convince me that a new power cord for the amplifier or a different power outlet would make a discernible difference to the sound reproduction someone would have to show me the results from an organized (preferrably double-blind) listening test. I don't deny anyone the pleasure of using reliable, high quality equipment. Also, I'll admit that not every item I spend money on equipment-wise will give me better sound. But claims regarding the effects on the sound would be very hard to verify, I'd think.

During the early years the OJC:s manufactured in Europe (Germany) looked like that. From your question it appears they weren't the same in the US.

The film was that bad. I remember going to watch that film with a few friends when it ran just because we've heard that it was really bad. That day I was in a terrible situation otherwise because of my own poor judgement, but the film made me laugh so much that you could say L Ron Hubbard saved my life.

The interpreter did the whole Swedish finals and has gotten a lot of positive comments. Many people want to send him to the Eurovision Song Contest too!

:-D

I Will get Charade, too. The music for the final chase/subway scene is a piece of classic scoring that is about as great as anything written for the movies in the 60s. It sounds more modern than the year of release might make you think and it's clearly outside what many people expect of Mancini.

I'm interested in getting the expanded Charade album and would very much appreciate a link to the right CD release from those who know their Mancini.

Spotify is a distributor, so they get the music from whatever label that owns the rights, or - in the case of public domain material - from any label that has signed up with them and is offering it. Since it's possible to make a digital-only release of a PD recording very cheaply, there's a wealth of labels that seem to exist for this very purpose only. Much of this shouldn't really be available in the US as it's not in the public domain there. In album view the label/rightsholder is stated, usually at the bottom. When an album is available in multiple versions (as the PD material almost invariably is) i always try to see if I can find a release from the proper rightsholder as to not unnecessarily feed the shadier PD labels. As for albums in bad sound, there's too much to mention among the digital PD labels.

Actually, you initiated this sub-discussion by calling SHM a scam. Sorry for responding.

I'm not sure I get your point, but that's probably my fault.The reason I brought up EAC was that the ripping time is affected by how difficult a disc is to read, and that I have observed a general difference in ripping time between scratch free CD:s and SHM CD:s I've ripped.

You are falling into a common misconception about CD error correction. It's an error correction algorithm that is applied to every bit that is read from the CD all the time. There is no strain on the error correction circuits because they aren't working harder, they're working the same as if the CD had no errors. The bits go through error checking circuitry and if a bit needs to flip, it's flipped. If it doesn't need to be flipped, it isn't. There is no additional circuitry needed to flip these bits. Sorry for not presenting it correctly. What I meant was that there's a limit to what the error correction can "guess" from missing/faulty bits. I didn't mean that the circuitry was literally under pressure. Whether the SHM/non-SHM difference is enough to ever make a real (audible) difference I don't know, but I doubt it (which is why I added "theoretically"). What I have observed, though, is that the SHM CD:s seem to be easier to read for the CD-ROM drive.

As for SHM being a hoax, I can attest to the fact that when ripping these CD:s to a computer with a software like EAC, which reads every frame multiple times until there is consistent data for a given number of consecutive reads, the ripping is generally faster than for the majority of common CD:s. This seems to indicate that there are fewer read errors from SHM CD:s. As a CD player only gets one chance to get it right a common CD theoretically puts more strain on the error correction circuit. To what extent this difference is perceptible I don't know, and it doesn't matter much to me. However, I'm happy with the remastering of the SHM series. David's point about optimal playback of digital files is of course valid. Strange as it may seem, having these pieces of plastic shipped from Japan is still the only option of having some of this music in uncompressed 16/44 in this part of the world, though. (Not to mention the bonus tracks of this series, which I believe that the "common" CD reissues with the same mastering are missing.)

The Lego concentration camp: http://en.m.wikipedia.org/wiki/Zbigniew_Libera

The Feldman album is nice, but not quite what the line-up might make you think, IMO. I don't return to it often at all. Fresh Sound is continuing to milk the last P.D. year, 1962, it seems. Nobody else would have reissued them I suppose, but how they can be "remastered" in the usual sense of the word is beyond me since I can't believe they have got the masters to work from.

Of course he could hardly have been unaware of Stravinsky. But he came from a very poor family and suffered from a lifelong illness that severely restricted his ability to move. I doubt he traveled much.

Happy birthday!