Daniel A

I like it, but I haven't listened to it in a while. It is included on Mosaic's set: The Complete Mercury Art Farmer/Benny Golson/Jazztet Sessions. The concept is flawed! There is no "10" on a telephone dial!

So, from those of you who have read both (which may not be too many) - which of Gavin's and Chambers' biographies should one read (first)? (If anyone wonders where I got the Gavin quote above if I haven't got the book I found it in a Google cash of that page)

Previous thread on the 'Blue' album:

I'm I decade late, but as for the speculations about the dedicatee of 'A Crutch for a Crab' earlier in this thread I can add that James Gavin claims that it was in fact written for Arthur Rubinstein, allegedly Twardzik's hero, and "whose hands, Twardzik felt, looked like crabs on the keys".

Happy birthday, Guy!

Fascinating thought! The true Warne? Or the "Euro" Japanese...

You know, when I discovered the BNBB I first thought that moniker was some weird reference to tomatoes. I thought so just now MG Were you there back then, or did you join "the community" here at O?

Thanks, folks. I don't want to appear obsessed with the technical aspects of these reissues. It's good that so much of the music is available. It was also quite fun comparing the different releases and formats. I may end up just making FLAC:s from the LP. I haven't played it in a while, but recall the Jarrett 'Exit Signs' sounded OK. Do you have it, Clifford?

You know, when I discovered the BNBB I first thought that moniker was some weird reference to tomatoes.

The US Rhino release from 1998 (cat no 8122-75352-2) is even more brickwalled, though it's marginally less trebly to my ears. There was a Japanese SHM reissue of the album 'Inner Space' a few years ago, WPCR-13194. It has the whole 'Tones...' album plus a few bonus cuts from the same session and two tracks from a Hubert Laws album. While I can't be sure since I don't have the 70s LP version any more, the CD reissue may use the same master that had some added reverb. It sounds distant and "processed" in comparison with the JP/EU/US versions, but at least it's not as heavily compressed. Also, the bass sounds boomy and too boosted. Finally I compared these reissues with the original Vortex LP release. As shown in the wave graph, it doesn't suffer from the heavy compression (Edit: or, from the looks of it, limiting) of the CD reissues of the album (except for 'Inner Space'). I think it sounds the best, although when going directly from the CD reissue one gets the impression that it lacks some upper end. Starting with the LP with nothing to compare it to, it sounds more pleasant than any of the CD versions. As has been noted earlier, this session was not recorded in the greatest fidelity, but the music is absolutely fantastic.

The results from my comparison of "EU" and Japanese 1000 Yen reissue of 'Tones for Joan's Bones' can be found in thread.

I was curious about the "Japanese" Warner CD reissues mentioned on this forum, seemingly originating from Italy. I ordered copies of both the "true" Japanese and the "EU Japanese" reissue of Chick Corea's 'Tones for Joan's Bones' to compare them. After checking them with EAC as well as with a wave editor I found that the the actual data on the two versions is bit identical. There is no way to tell if this goes for other titles in the 1000 Yen series, but I will not compare (or get) any more titles as the remastering on 'Tones...' doesn't appeal to me. The Japanese version is on the left and the EU version on the right. The only difference is the "Made in EU"/"Japan" and differering catalog numbers. However, there is printing on the inside of the Japanese OBI strip while the EU OBI is blank. The disc itself has the Japanese catalog number, even the EU disc. The discs are seemingly from different manufacturers, and of course the EU disc says "Made in the E.U." (upper disc on the picture) Then, about the mastering... I find it a bit tiring and too trebly. As you can see from the waveform of the WPCR-27015 (the first track, "Litha") it's "brickwalled".

Well, the original question was "what do you think is the best". It seems as if it would be possible to give a pretty straightforward answer to that.

Two of my favourites are still not mentioned (or maybe I missed them): Reggie Johnson. I first heard him on Bobby Hutchersons 'Total Eclipse', where I think he's a key to the greatness of that album. He provides the foundation for everything in the best possible sense. He's on some highly regarded dates, some of which I haven't heard, like "Juba-lee". Buster Williams.

Which leads to the question: why didn't the real Blue Note use a more individual design for their 45 labels? Because nobody could see them inside the jukebox? But a lot of 45s must have been sold for "normal" use as well.

I find this project interesting, even if I'm still uncertain I'll buy the actual album. If they managed to copy the original playing to the point that there was no discernible difference at all it would be pointless. However, since that is impossible, they will leave their imprint on the music and I would be interested in hearing in what way.

I'm flexible. If I can help anyone by switching month, please go ahead. I'm available all months except June-August.

Thanks! I'm looking forward to it!

OK, I'll take May if it's still available, then!

I'm not keeping up with this forum like I used to so maybe you've been around constantly, but it was some time since I saw posts from you. Anyway, nice to see you here, catesta! I'm thinking of maybe applying for the May test. ,

My previous (and only) BFT was in 2004, and I haven't followed the tests since soon after that. However, I'm thinking of presentijg a test again at some point. I would like to ask, now when there have been more than a hundred tests, do the presenters go through all previous tests to make sure none of the tracks have been used previously? Or maybe it's no big deal since the participants have changed so many times?

Happy birthday, MG! I haven't brought a cake to a thread in years, but here's one for you:

If you were there I don't doubt that you would have enjoyed the evening, but the LP:s do not live up to the expectations for a Blue Note album, or even the expectations for an album on any label with thesee musicians. For me it's more that than anything else. The playing is OK for what it is, but they are not great as "albums" IMO.

Duke himself plays it in C:

So sad. RIP, Hans.