Daniel A

Aren't there similar problems on Joe Henderson's "Inner Urge"? On the McMaster the cymbals sound bad right in the beginning of Joe's solo.

Wasn't Bemsha Swing on one of those Bob Belden wax cylinders?

I think it will fit on 2 CDs (the previous US CD reissue Red Garland at the Prelude, Vol. 1 had 13 tracks and 76 minutes playing time, Stretching Out featured six tracks from the show which make up around 45 minutes of that CD. This leaves four tracks, which mustn't be over 38 minutes together). I don't have this material myself, but my speculation is that the Japanese released it on three CDs because Garland's Prelude appearance consisted of three sets - one set per CD.

So, therefore I'd suggest...

I know. I just wanted to point out that there may be cases where some people feel that a certain presentation of a couple of sessions works better, while not being the "original", and the Mobley albums just sprang to mind.

I just listened to that cut, and I agree that the tenor sound is very similar to Joe Henderson's. Sometimes I think the timing is just slightly less perfect than Joe's, though. But this is not how I thought Junior Cook sounded like, and I'm surprised in a positive way; I must dig out some more of his recordings... He sounds good on the other tracks as well, where he plays like "himself"!

Yes, Bertrand, it grows on you! One of the high points is Chick Corea's solo on 'Tones for Joan's Bones', which I think is one of his earliest significant solos (recorded just a few weeks before the first album under his own name, IIRC. Incidentally, an album which also has that tune, but with a rather more cautious solo from Corea). Pearson's arrangements are - what do you call them - functional? But it amazes me that they do not sound worn out after a couple of listens; behind the simplicity there's something which holds your attention.

Of course, the original track sequence of a certain album does not always have to be most desirable for everybody. (Example - have been discussed on other forums in an ancient past: Mobley's No Room for Squares, The Turnaround and Straight, No Filter, I prefer to listen to the tracks from a certain session; I remember Jim Sangrey thinks otherwise )

http://www.usatoday.com/news/offbeat/2005-11-22-dog_x.htm

Probably this distortion is now present at the master tape. I checked my copy of 'Boss Horn', it's from the Spanish Blue Note Collection with blue covers, and the distortion you mention is there, too. Now, what kind of remastering this Spanish version really is beats me - most of the other releases in this series are in fact the same as the Japanese TOCJ releases of the 1990s, but Boss Horn was to my knowledge never released on CD in Japan. I checked another CD from this series (Tina Brooks' 'True Blue'), which has ©(p)1993 Capitol Records, Inc. on it, which I believe is the year of the Japanese release. 'Boss' horn has ©(p)19xx... A secret remaster? Just to be thorough, I also checked my vinyl copy, a black label Liberty pressing, where - of course - there was no distortion...

Not too inspiring. Do a search for "Take Aim", and you might find som mildly discouraging posts in a couple of threads regarding Mighty Quinn Records. Nothing has made me to pull this album out much - Land is heard better advantage elsewhere.

Send him an email at hiroshi@earlyrecords.com. He accepts PayPal, and his international shipping rates are very moderate. Link to the Early Records website

Yes, the problem occured after the upgrade. However, since following your recommendadion and switching to the Rich Text Editor everything is working like a dream! Thanks!

I put all cassettes away maybe three or four years ago. I thought I was going to transfer most of them to MP3, but... So far only a handful of concert recordings from FM radio actually made it into my PC. Some other day, perhaps... But I agree that cassettes can sound good. I had one of these: Akai GXC-710D

My vote for lousiest looking cassette brand:

As nobody commented on my previous post here, I take it that I'm the only one experiencing this problem: Every time I'm trying to use any of the text format buttons when writing a post, the code (like ) is always placed at the end of the text - I take it Opera users experienced something similar. But in addition to that, all of the text is selected - as if I had went over it with the left mouse button down - so that if I'm continuing to write without clicking at the end of the text (and thus un-selecting the whole lot), everything I've written up to that point is whiped out as I press the next key. (I'm using Internet Explorer 6.something)

Thanks for checking, Tjobbe! The original liners were kind of funny, though not exactly insightful to any striking extent. At some point during that last few years someone (I forgot who) borrowed my copy, and it doesn't seem as it's coming back. I was just curious if I could get hold of those liners again. Suppose I'll have to seek out a battered vinyl copy too...

Tjobbe, do you know if the original liners (I think by Ingemar Glanzelius) to "Jazz på ryska" are once again included? They were on the Megafon twofer, but were dropped from the Heptagon 1994 reissue.

Yes, that would be the earlier Heptagon release. Or even the late 80s release on the original imprint Megafon. I have the earliest CD release, and it's very hissy. I noticed this on the Heptagon website - an unusual approach:

When I'm typing a post and try to use the buttons for bold, italic etc. everything I've typed is selected at the same time as the or whatever is added, so if don't deselect it before typing along everything I've written is erased. Anyone else encounter this?

Steve Kuhn Live in New York (Cobblestone 9020).

I tried to install the stuff from Sun Microsystems as well (Microsoft is no longer offering the software, despite the link on the "Live Chat" page). The installation crashed, but then the chat function appears to be working nevertheless. I just enetered the chat room, and - guess what - noone else there!

Yes, Lon, they sound best in a medium-sized room or bigger, and the sound benefits from having a fair amount of "free wall" behind the speakers. Nothing to squeeze in behind a couple of bookshelves! I think I'll put on a good old all-analog Deutche Grammophon LP and close my eyes... (My choice: Tschaikowsky, Symphonie Nr. 4, Mrawinskij/Leningrad Philharmonic Orchestra, 1961)

The idea behind all of the Sonab apeakers as well as the earlier of the Carlsson brand (all designed by the Swedish engineer Stig Carlsson, now legendary in Swedish HiFi circles - a fame which he sadly has gained only after passing away in the early 90s) was to use the wall behind the speaker as an integrated part in the distribution of the sound; thus the unorthodox placement of the speaker elements. Stereo imaging is not as defined as speakers of a more traditional construction - allthough it's not at all a distraction. The benefit is that good recordings, primarly of acoustical groups, grow out of the speakers and makes it sound as you're actually standing right in front of the group itself in a way I've seldom experienced with other speakers. Restoration, complete with new filter components and internal wiring, is a project for the not too distant future, but they sound lovely as they are. Then, I also have a pair of Sonab OA-6 II in teak finish, which awaits a fix up. They share the main set-up of the OA-14s, but they also have built-in active bass amps for separate bass elements pointed downwards, a not too common feature around 1970. They are put away for the moment, but I'll provide a picture some day... Re: Lon - those look like a pair of beauties!