Daniel A

...which is why I started the thread.

Make sure you'll get the trio album with Red Mitchell and J.C. Moses recorded in Stockholm.

Thank you, Bengt, for your wonderful playing. What is little known outside Sweden is his film and television work (also some nice scores for children's television programs) and arranging on many jazz and some pop recordings. Always done with a personal touch.

I meant to respond to this back in May but somehow I forgot. I've got Maliny Maliny as a 70s reissue on vinyl and I like it! I know that some may disagree, but I feel that Jan Hammer could have gone in another direction in the early 70s, but chose one that for me personally is not fully rewarding. I've always preferred him on acoustic piano or Rhodes before any kind of synths.

FWIW, You need an account to be able to use the search function.

It's on Spotify here in this country, but it's not the OJC version but some public domain label, so maybe it's not available in the US.

The Chinese owners (since three years) are not handling Volvo well. The end is near.

Sorry if I added to the confusion. Here it's measured in per mil.

I'm a bit surprised by this view. Over here we went from 0.5 to 0.2 decades ago, and many lives have been saved. I'm sure you realize just how much your driving capabilities are affected at an intoxication level of 0.8.

Sound quality is something of an issue with some Jazzhus releases it seems, while others do have very attractive sound. The live album with Bill Evans and Monica Zetterlund (recorded in 1975) suffers from a weak recording and unpleasant, no-noised remastering. A pity this is the case with the Czech piano jazz album; I've a soft spot for early Jan Hammer! Late didn't specifically mention his impressions from the Dauner album. Myself, I find it excellent and the most enjoyable recording I've heard from Dauner.

Somehow, I would be much happier with a release on Ishtar, Mosaic or some other "official" reissue label. If I want an LP dub I could always make one myself. Except that I'll never find the LP... :-) Anyway, as noted elsewhere on the web and by people in the know on this very forum, there's a wealth of unreleased material in the Campi archives (possibly now at Ishtar/Rearward). I would really love to see a serious CBBB box set with unreleased material and would preorder it on day one. I'm afraid that a Pujol reissue would not increase the probability of such a set from Rearward.

BTW "Un Graso De Areia" - a long-standing misprint of 'Un Graõ De Areia' - on the KPM release is easily the definitive version of one of CBBB's nicest arrangements. I've been looking for these albums for years; never seen them.

"Jazz Convention 1", cat.no. KPM (E) Int 02, was - except for one track - also released on Muse as "Open Door". That release is much easier to come by. When I want to check details for CBBB recordings I always use Doug Payne's discography: http://dougpayne.com/cbbbind.htm

All the best to you, Tom! I'll close my eyes and envision your office view when I'm back in my office landscape tomorrow...

I think that's an odd comment. Some of Jim McNeely and Marc Johnson's compositions that Getz played during the 80s were mildly adventurous too, not unlike Chick's. Well, maybe he didn't realize until the 80s that he actually liked playing space monkeys music? Personally, I'm still most fond of the first three bossa nova recordings (Byrd/McFarland/Gilberto). I can't think of anyone else I would have wanted to hear instead of Getz in that setting.

As etherbored suspected: no RVG stamp. The King pressing is somewhat similar to the later TOCJ CD and seems to boost the middle register in an unpleasant way compared to the original. I agree that this is one of the very best sessions of the 4200 series. Joe Chambers and Reggie Johnson is such a great team!

I shouldn't have written "further downmixing" since we're only talking about two channels, but "reducing the stereo spread". It was my impression that this step was taken before creating the LP master. You wouldn't need to go into the digital domain to reduce the stereo spread of two channels. Sorry for the confusion.

It was even worse than I remembered: I've got both Toshiba and King LP pressings in addition to the US Liberty release. Anyway, the Malcom Addey remix is better than I remembered and I clearly prefer it to the TOCJ-8676 which I find too loud and compressed. The mix and soundstage of Addey's remix is somewhat different from the original LP, but I can't say I prefer any of them over the other. I believe this was first reissued on CD in the "Collector's choice" series. Some (all?) titles were reprinted a few years later and my copy of the US CD version actually has "(p) © 1995" on it. It's the same 1988 Malcolm Addey remix though.

Not sure if it matters or not, but as Total Eclipse wasn't recorded at Van Gelder's studio it might be a multitrack recording and as a consequence it couldn't be transferred to digital using the same equipment as was used for other "classic" BN CD reissues. FWIW - and any muddiness aside - I think the sound as captured in the studio suits the session. It doesn't sound like a BN recording, but is none the worse for that.

I own the TOCJ-8676 release as well as the American CD reissue from the 90s. I've also got the original LP and a later Japanese LP reissue. Why the obsession? It's simply one of my favourite albums ever and I was searching for the best sounding version. From what I can recall nothing beats the original LP. I'll get back with a fresh opinion when I've had time to check the different versions again, probably this weekend.

In addition to what Michel Devos said I'd like to add that while recording at Rudy's was made onto two-track I've seen the claim that stereo separation was very pronounced, allowing for (and/or requiring) further downmixing to make it suitable for release. There's probably a thread about that somewhere.

I believe CD:s with a playing time exceeding around 74 minutes were exempted from copy protection as there were not enough room on the disc for the data segment containing compressed audio files.

The rates have always been steep over here, but they havent changed in a couple of years. On the other hand the Swedish krona has gotten at least 35 percent stronger against the euro since 2009 so it would perhaps appear so from the eurozone.

The sellers are the winners, since I take it they get the $14 as a shipping reimbursement regardless of the actual cost. It seems odd that the rate is the same regardless of media type; it's more costly to send an LP. Of course the fixed rate system is unfavourable for sellers when it comes to large multi-disc sets. Maybe that is what most people are ordering these days.

I might do that - it can be fun to complain if you're in the right mood!