erwbol

Ah! https://www.discogs.com/Dizzy-Gillespie-And-His-Orchestra-Things-To-Come-Emanon/release/2804190 Wayne's Emanon: ... Monday brings the most expansive sounds yet with the North American debut of his newest work “Emanon.” The Detroit Jazz Festival Orchestra joins Shorter, who happens to be a lifelong science fiction fan, to perform this suite, which is also the score for a graphic novel by award-winning comic book artist Randy DuBurke (The Moon Ring and Malcolm X: A Graphic Biography). https://www.metrotimes.com/city-slang/archives/2017/08/31/talking-eternity-with-saxophonist-wayne-shorter

And wasn't Emanon supposed to be a new composition for orchestra and quartet? So where is it?

I'm sorry to hear this, Scott. Get well soon.

John Coltrane Transition (UCCI-9202, SHM-CD)

Disc 1 fourth time today. This French release sounds f-ing great.

OK, so I picked up a copy at the local record store today. This is a real classy reissue. The booklet is glossy paper, so very firm and durable. Beautiful packaging. The sound is great so far (first disc now). It was mastered by François Lê Xuân who is also responsible for the recent stellar French Centennial Edition of Thelonious Monk's Piano Solo, Paris 1954.

Your post made me reconsider the Steve Coleman Label Bleu studio albums. I ordered a sealed, mint copy of On the Rising of the 64 Paths through Discogs this morning. Cost me €16.50.

So a segment of the Japanese and American buying public asked for it, and this confirms all this started out as a marketing stunt. Quality control went out the window. It is no surprise to me that in America where capitalism is so unchecked and which has slowly turned into a Mickey Mouse democracy this is simply accepted. Personally, I think it is immoral to master these works of art to the standard someone with a $200 stereo system might enjoy best. Don't like it? Go find another hobby. Well, in the case of movies and television, sure, I'll stop watching. But I can't stop caring about jazz, so I am pissed off.

Rudy Van Gelder began mastering louder that was usual at the time at least since 1992. See Joe Henderson's Lush Life: The Music of Billy Strayhorn and compare with other Joe Henderson Verve CDs from that era not recorded by Van Gelder (So Near, So Far and Big Band). This style is carried over into Van Gelder recordings of the late 90s. See for example Van Gelder's Osby, Shim, Moran, Harris New Directions and compare with Shims second Blue Note Turbulent Flow released around the same time. In the late eighties this was not yet the case, see Rudy's recording of Andrew Hill's Eternal Spirit for Blue Note in 1989. A very fine sounding digital recording. The producers indeed got exactly what they wanted, hence my accusation of cynicism. They knew from decades of experience they were selling crap to a bunch of ignoramuses (like myself when I started collecting in 1998) and didn't care, except most likely for sales figures. And what a brand name Van Gelder was, and as a result of roughly 10 years of shitty remasters no longer completely is. I don't think 'we asked for it' at all. Certainly not people who were long time listeners in the late nineties, and also not ignoramuses like myself who were trusting record companies to bring out the best possible product they could at the time. After all, dedicated people were involved on behalf of the companies, right? As for the reports on Van Gelder's hearing, the extreme white hot treble boost of last decade's remasters fits those rumours nicely, I believe.

Exactly. The Andrew Hill Mosaic Complete Blue Note Sessions (1963-66) clearly shows that Addey was able to do better with 16 bit technology than McMaster. Compare Black Fire and Point of Departure. Addey also did better with 24bit in general(Connoisseurs and Select 16). Also, Addey's Smoke Stack from the Mosaic is much better than the Larry Walsh 20bit Connoisseur, the sessions' two basses particularly.

Looking at other early jazz CD reissues, better results than McMaster achieved in the late 80s early 90s were certainly attainable. I agree they sound more natural than a lot that followed, but that is more due to the cynicism with which the later reissue campaign was handled. Letting an ageing, somewhat deaf Van Gelder butcher all those 24bit reissues is unforgivable. When it comes to McMaster, I especially dislike the later 20bit and 24bit BN Connoisseurs, Mosaics, etc.

Voted for Hank as well.

We will probably still be crap four years from now.

Voila!

Tracklist in Japanese: https://www.universal-music.co.jp/wayne-shorter/products/uccq-9380/ Google Translate: Disc 1 1 Pegasus 2 Prometheus · unbound 3 Lotus Four The 3 Mary's Disc 2 1 The 3 Mary's 2 Lotus & Orbitz Medley Disc 3 1 Lotus 2 Sea Move's Through The Fair 3 Adventures' Abroad the Golden Mean Four Prometheus · unbound Related page Release information for 2018

Paco de Lucía Almoraima (Philips, 832 022-2)

Air 80° Below '82 (Antilles, Island, J33D-20008)

Good goal, France.

Analysts on the Flemish VRT seem to think so, although they are hoping for the Croatians to win. It's their game plan. Loathsome.

They needed the helping hand.

Croatia!

For the record, the Dutch freely acknowledge we can be arrogant when it comes to our opinion of ourselves in sport. Perhaps the line between self-confidence accompanied by outspokenness, and arrogance is not always clear. See for instance Formula 1's Max Verstappen's character. Born in a Belgium to a Belgian mother and Dutch father, both racing families. Went to school in Belgium, but spent most of his youth racing surrounded by the Dutch. He feels Dutch and drives for the Netherlands. His attitude is very Dutch indeed.

I am glad you believe my use of chum was jolly good! I love putting in these silly British words when I can. Tally ho! Off to watch the final!