Daniel A

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!

There have been a few changes since my previous post in this thread. The current setup: Thorens TD-125 turntable with SME 3009 tone arm and Shure V15 IV pickup Harman/Kardon HD7325 CD player Harman/Kardon 930 receiver Sonab OA-14 speakers Speaker cable: EKK 4x1.5mm installation cable. Purists will obviously not embrace this, but double blind tests have shown that these are perfectly fine for me. And they're cheap, too. ( http://www.naqref.com/ekk.html ) The Sonab speakers, manufactured in the 70s, have been laughed at in some circles, but I've never met anybody who has actually heard one of the upper-range models and been less than impressed with their performance. For more info, check here: http://www.carlssonplanet.com/index.asp?lang=en&p=oa14 (Picture courtesy of www.carlssonplanet.com - mine are black)

I just spoke with a friend who is working for SonyBMG in Sweden. The matter of copy protection came up (of course) - I hadn't followed this thread for the last couple of days - and he confirmed what you already knew: that the CDs distributed outside the US do not have any copy protection. He also said that they were to introduce some kind of copy protection scheme for all European discs in 2006. Either the decision Claude mentions has not reached him, or they are still working on "improved" solutions. Claude, have you seen an official statement that SonyBMG Europe will not introduce copy protection?

I don't have the Lonehill reissue, so I can't answer your question. But it seems that Coltrane made a radio broadcast from Tivoli in Copenhagen on Oct 25th, so he was at least in town on that date. Now, if he was at Kirk's Montmartre gig is another question... http://home.att.net/~dawild/jcdisc63.htm#631025

Right you are, Jim! I was thinking of Jacknife, which I'm sure I've seen as both glossy and non-ditto (maybe in a thread at the BNBB regarding the cover art of the then upcoming reissue - you know the one which said Jacnife, wthout a 'k', before it was corrected).

Mine too. Also missing from the list, I believe: BN-LA 474-H2 Horace Silver - The Trio Sides BN-LA 485-H2 Herbie Nichols - The Third World BN-LA 488-H2 Booker Ervin - Back from the Gig BN-LA 496-H2 Freddie Hubbard - Here to Stay BN-LA 590-H2 Milt Jackson - All Star Bags These I'm unsure of: BN-LA 473-J2 Art Blakey - Live Messengers BN-LA 483-H2 Jackie McLean - Hipnosis My copy of "Hipnosis" is glossy, but I think I've seen a paper bag issue pictured on the web at some point.

Hazeltine's Waltz for Debbie is also very good. Allthough, after one listen I found his most recent, Cleopatra's Dream (the album is feturing exclusively Bud Powell tunes), uninvolving. We'll see if further tries will reveal something else.

One way to get all of the concert (possibly with the exception of the Max Roach solo piece) is to seek out the old Prestige 2-LP set "The Greatest Jazz Concert Ever". It was some time since I heard this, but the sound quality was probably not too impressive. I wouldn't have thought that this kind of recording would need any high-resolution format to sound as good as it can.

Re: the Rhodes touch, it seems that it can vary between different instruments (as the sound also does). I've played Mark I pianos with a very light touch, with almost too quick response, as well as those who demands great physical strength to produce any sound at all. It depends partly on the condition of the individual instrument, of course, but it seems that early Mark I:s are generally a bit harder to play. But - to my ears - those have the most beautiful sound. I think later Rhodes pianos can often sound a bit too polished and clean. I have played a few Wurlitzer electric pianos, which have had and extremely light touch that made them somewhat difficult to play for someone used to acoustic pianos. Cedar Walton and Bill Evans are two jazz pianists not previously mentioned here with a disctinctive touch on the Fender Rhodes. But my all time favorite is Chick Corea on "Light as a Feather". A Rhodes has seldom sounded better. I think Corea himself tried to get that sound again, but never succeeded completely; the instrument and amp were just rented for the recording session, and could not be located again, if I remember correctly. Incidentally, both a direct signal from the instrument and a miked one from the amp were recorded, but it was later decided to only use the sound from the amp. BTW, this is a great website for info about the Fender Rhodes piano: http://www.fenderrhodes.org/ Edit: I initially wrote Kurzweil; meant to say Wurlitzer.

Except for Hank Mobley!

Well... you mustn't forget the "Weird" though...