EyeSpeech

Oppo does not provide multiregion video (maybe it did in the original non blu-ray model but not in subsequent models). The Sony does not provide DVD-A compatibility so, no, it does not play every format.

I suppose it could theoretically still change before the Feb 5 release date, but yes, that's the real cover art that's been posted on BlueNote.com and several other sites. I've got to say, some of the comments here about the cover and the melodic/rhythmic thrust of the group seem woefully superficial, given that the group has basically elevated the language of jazz to something new.

SACDs are not CDs, but yes Oppo is a good choice for playback. Avoid SACD players that convert the DSD signal to PCM before the DAC. Meaning that you want the the SACD content converted to analog with no steps between.

Check out the Oppo BDP-103. http://www.amazon.com/gp/product/B009LRR5AQ?ie=UTF8&tag=eyes0bf-20&linkCode=shr&camp=213733&creative=393177&creativeASIN=B009LRR5AQ&=electronics&qid=1357540551&sr=1-1&keywords=oppo+bdp-103

When I saw the quartet at Yoshi's, it really took me by surprise. Like Marcello, I expected a more overt rhythmic and melodic ground to sink into, but it simply wasn't there. Took me all of the first tune and some of the second (about 1/4 of the way into the set) before I started to understand what the band was doing, and wrap my brain around it. Once I made the adjustment as a listener it was almost like learning a new language. By the end of the set I was immersed in it as something new in jazz--and how rare is that anymore.

B&W don't make the B&W doesn't make the N800 series anymore. The diamond tweeter and upgrades to crossovers were developed a few years ago, making the top end as good as the lower frequences. I sold my N802s about five years ago and upgraded to the 802Ds. Apparently those are no longer in production either, as B&W now makes a piano-gloss version instead. I haven't heard the current model--it's supposedly a significant upgrade. As for the 600 series, I think they're a decent choice along with some of the Polk and other midrange brands.

You are not acknowledging this band's approach. It's not about tempo or rhythm in any traditional sense. It's about drilling into the harmonic essence of each composition. If you can't appreciate it, that's fine, but second-guessing one of the greatest composers and band-leaders in jazz history--one who could pick whoever he desired to be in his band--is not just silly. It's pointless.

I saw them live at Yoshi's a couple years ago. Many people in the audience didn't get it. You and Chuck are not unique.

Looks like his powerhouse band has a new album due next month, Without a Net. Anyone who doesn't preorder this is an a-hole. Without a Net

Anyone know when he's coming to the SF bay area?

I agree with that, if for no other reason than it's increasingly difficult to set aside a big enough block of time to fully digest a box.

The new APO version.

The SACD is not as bad, but I agree with you. It's never gonna win an audio award, that's for sure. I prefer hearing these albums as they were originally released. Live/Evil can be heard in a reasonable amount of time, whereas the box sets take longer to get through and digest.

And a very happy Hanukkah to you, Victor.

I'm still enjoying my VAC, but I don't think this model is easy to find anymore.

Wow, you're really missing out on what these discs are capable of.

I agree, maybe because the novelty still hasn't worn off. There is just so much to hear in the layers of ideas in the large(r ) ensemble, even beyond Speak Like a Child. Of course Empyrean Isles and Maiden Voyage will always have a special place in my heart.

Ok...there is no way Chambers or Mitchell played on that alternate session. AP must have failed to remove their names after producing another title.

AP = Analogue Productions label

Thanks Lon, it sounds like Sam Jones. The SACD notes make no mention of Jones or another session date, but the booklet says, "Blue Mitchell performs by courtesy of Riverside Records, Paul Chambers by courtesy of Vee-Jay Records," which is obviously wrong.

I enjoy it a lot. Does anyone know the details of the bonus tracks? Different session? Who's playing bass on those tracks?

Yesterday I was listening to Freddie Jackson - Hootin' 'n Tootin' and The Three Sounds - Introducing. Both have extensive bonus tracks not on the original LPs that nearly double the playing time of each album. In listening to the Gray/Hoffman-remastered SACDs yesterday, I noticed that the bonus tracks sound more open, dynamic and detailed than the original tracks. It's a major difference that is immediately audible. My question is why? It's possible the bonus tracks are on different tapes that have aged better than tapes of the standard tracks. The tapes with the bonus tracks were handled and played far less, I assume, than the original tapes. Perhaps they were stored in better conditions, too. Or perhaps the original tapes of the standard tracks were lost, and Hoffman/Gray had to use second-generation source material. Can anyone think of another reason for the difference in sound quality? I suppose I should address this question to the Hoffman forum or Michael Cuscuna who is intimately familiar with the Blue Note vaults.

yes: search function is an easy tool. two threads on that thing is tutu many. Uh oh! Get the torches and pitchforks. Seriously, I don't see any mention of See You at the Fair in that thread.

Yep, that'll do it. The TOCJ are very laid back compared to the forward and bright RVGs. I could see how a system optimized for one will not do justice to the other. I am not as keen on any CD...the SACDs let me hear more detail. So I continue to collect these APs. I just ordered six more: Introducing the 3 Sounds Dizzy Reece Soundin' Off Duke Jordan Flight To Jordan Fred Jackson Hootin N Tootin Freddie Hubbard Artistry Of Freddie Hubbard Lou Donaldson Time Is Right

Your words, "Alfred Lion and Blue Note were great when they were great which was far more often than not..." That sounds like jazz fans shouldn't feel ambivalent about it. Ambivalence would be directed at a label that was mediocre, not great. Make sense?