erwbol

According to Amazon.co.uk Miles at the Fillmore is the current #1 bestseller in Bebop.

By all means continue the discussion. I just meant my participation has come to an end. My limited attention span has been exhausted.

... with the second point there directed at me, I just want to add my 2c, namely that to me audiophilism and the on-going obsession about a few "classics" probably looks at least as elitist ... guess we're just into different things in the end. I mean it's not that I don't enjoy when something sounds good. I'm sorry if I appear elitist (though frankly I don't think I've ever been told I was, neither here nor in any other music discussion on- or offline ... well yeah, my little sis who preferred Ace of Base and stuff like that thought I was very elitist ), but my main driver is an on-going enthusiasm for the music and those that make it (meaning musicians more often than record producers, sound engineers et al, though obviously they're part of it as well), and I hope I will not ever lose that! Now, granted, not everybody wants to get acquainted with the sounds of Luis Russell or Evan Parker ... but to me it's kind of a necissity to find out ... like: where did that stuff come from? How did drummers sound before Klook and Max? Why does no one tell me about a great m-f like Dave Tough? Is Han Bennink a genius? How does Hamid Drake come accross live? There are thousands of things I want to learn and know, and I just can't be bothered to obsess about the sonic qualities of each and every record I buy (many are just around in one edition anyway, which makes life a bit easier, of course). So, most often (hey, I get grumpy every now and then, who doesn't?), no offense is intended at all, and I apologize for any offense taken from words of mine. But I'm definitely not out to appear elitist or any such crap, no sir. The second point was not directed at you, nor anyone on this board in particular. How did you come to believe it was directed at you? P.S. Anyway, I've lost interest in this off topic discussion and have not been reading replies for several posts back. I'm going to play some electric Miles now.

Whatever the method of shipping their packaging is the same. Incomparable to what you'd get in the US or EU.

Nobody has said any of that! Steve just thinks it is better to support living music. He was asked like what, so he answered.Who, now, defines themselves like a 60s teenager by musical taste? What really matters is what goes on in the art, not in the consumer. But art needs understanding, advocacy and audience. So let there be a little advocacy. If I could suggest one shift in the implicit framework it would be from the consumer as monadic judge and petty patron - king of the psychological world - to experience - to say no more about what and how this might mean. In any case, the appearance of debate here is not about changing the mind of the discussants, it is about allowing other readers to shape a view. Be happy with old records and knowing better than those who differ - the 'elite' - others may choose to move on. I was not so much accusing Steve, but still. Past experience has made this a touchy issue.

This is the most annoying aspect of discussing an interest in this music. People telling you you should really be listening more to twenties Armstrong, Bird or at the other end of the spectrum Evan Parker and who knows else. I'll decide that for myself. This kind of elitist preaching and disdain tainted my experiences with the music of Charlie Parker for some years.

Perhaps he works really close to the airport. There are all kinds of crazies. Over 15 years ago there was a recluse on Dutch television who ate only pigeon food which he warmed a little in his microwave. He kept a waste container filled with the stuff at the back of his house.

There is just so much of interest in the history of this music that I have to divide my attention and resources. Currently there is a golden opportunity to finally sort of get a core collection in superb sound quality in place of the pre-seventies era. And that at the end of the CD era. That's just the way it is. I generally do not enjoy going to concert venues. I appreciate the difference between studio and live recordings, but am unable to concentrate on and connect with the music in a crowded venue. And an audience of mere dozens is a crowded plaza for someone with Asperger's.

UCCO-5213 The eighth Penguin guide lists it under Miles Davis' entry. Wikipedia

I was completely unaware of Conception's existence. It wasn't in the 4th edition Penguin guide, and yet there it is in the 8th edition. Strange I missed it in an entry I've consulted so often over the years. Is it more than a curiosity?

I ordered the two available Monks, so We('ll) See. UCCO-5220 Sonny Rollins - Worktime UCCO-5227 Thelonious Monk Trio + 2 UCCO-5253 Thelonious Monk Quintets p.s. I also love that box set. It was my introduction to this wonderful music and contains some great photos of the man. For me, there are jazz greats, and then there's Monk. Unsurpassed.

With the complete concert being available in both SBM and DSD remasters both labeled as Mastersound you can keep on wondering if you got the right edition in the end.

I'm glad to hear you didn't think it was a waste of resources. As for the earlier 20bit digipak Coltranes, some are better than others imo. For instance, I have no problems with the Complete Africa/Brass Sessions and Complete Village Vanguard sets. The earlier studio GRP jewel case CDs like Transition, First Meditations and Dear Old Stockholm were ghastly.

ArtSalt, I've taken up your repeated recommendation of the Prestige 7000 series SHMs and ordered Thelonious Monk Trio +2 (UCCU-5227) and Sonny Rollins' Worktime (UCCU-5220) to start with. Do you happen to already have these discs?

Well, I've only seen him in three films - Capote, Before the Devil Knows You're Dead and The Master - but he was pretty remarkable in all. Ironic that in the second he played a wealthy and apparently successful man who was secretly addicted to heroin. You've never seen The Big Lebowski? I thought that was required for board membership at one time... That will not stand, man! I've seen The Big Lebowski so many times at one time I could practically recite the dialogue for the whole movie from memory without interruption. Indeed an iconic film, Bill. That's first on your viewing list ! Take it you haven't seen Magnolia or Boogie Nights either. No, I haven't. Of course, I've seen Lebowski. Just forget about Hoffman in it. That's marvelous.

Sometimes it pays off to be precise or even borderline obsessive.

So even though the 2009 Wilder was based on the 2006 Sony SICP 1230/1, there is a noticeable difference with the Blu-spec 2 which reproduces that 2006 mastering?

My Mastersound Agharta was delivered yesterday. I listened to it late at night (in the dark). Epic concerts. Miles' organ was probably a bit more prominent on the recreated vinyl mix. But I like to be able to keep track of what the guy who is keeping track of time is doing, so I welcomed Al Foster's drum sounds.

Apologies if I came across as being strident. Indeed, these seem to be reissues of discs from some years ago (Atlantic's 60th anniversary). CDJapan Last time I looked, "The Shape of Jazz to Come" was still by Ornette Coleman?!? Of course, my first remark was about a particular reissue series of which Coleman discs are a part. I just did not sample any Coleman CDs, but felt confident enough to make a judgement of the sound of the series as a whole.

The WPCR CDs from late 2012 and early 2013 I bought (Mingus, Blakey) were very bright. They were cheap, but some (Mingus) are now being reissued again in cardboard mini LPs for 2.5 times the price. Great value. Listen to the ORG Music The Shape Of Jazz To Come to experience a real upgrade to the nineties CDs. Of course, to each his own.

Wasn't that Platinum SHM of A Love Supreme released at about the same time as the blu-ray audio disc? Could they have the same mastering? Lon has the blu-ray audio. From the description of the Platinum at CDJapan: "HR cutting from the DSD master which was flat transferred from original master in 2013."

I have no experience with their customer service. With their relatively sharp but fluctuating prices they allow me to import hybrid SACDs and XRCD24s without incurring the wrath of the Dutch Customs Nazis. I also buy International Phonograph releases like the Bill Dixon and Hemphill from them.

I'm with Lon on the ORG Music The Shape Of Jazz To Come hybrid SACD. Get it while its around. They aborted their SACD program after only three jazz titles (The Bridge, My Favorite Things) and all are excellent.

Strictly in my opinion — perhaps others could chime in — I think Stellar Regions is strong enough to have made Expression a double album. The only track I'm not crazy about is where Coltrane plays alto. I think the Penguin review would equally dissuade a newcomer from buying Expression. There is some very strong material on Stellar Regions. The fact that it is the complete date (15 February, 1967) including three alternates might give the impression of a bundle of scraps.

Please give us your thoughts. I never bought any Platinum SHM-CDs myself, and for earlier Coltrane albums like A Love Supreme and The Coltrane Quartet Plays I prefer the APO Hybrid SACDs.