skeith

anyone have any more comments on these Fantasy hybrid SACDs?

Agreed! Not that I can remember. Condolences to you Stros fans. oh and congrats to White Sox and fans.

I have been sort of holding back on these, but I am curious. I do not have an SACD player. But, have many of you compared the regular CD layer of these SACDs to the same title availabe as 20 bit K2s? What are the sonic differences? Does it make sense to purchase one of these to play on the CD layer only if it is similarly priced to the 20 bit K2?

Happy Birthday!!

Not wrong at all. I hope you realize we (actually, just me) also were having a little fun at your expense. I guess I misinterpreted " ". Seemed like you were pissed. And I certainly don't care when Tequila was written, although I'm sure Mike Fitzgerald knows the answer. ← Ok, I thought you were serious, although the Joe Henderson thing was a bit of a tip off. I thought I was having fun at your expense and no I wasn't really pissed but I thought that was clear. Guess not. Oh the internet.

Picked up this recent reissue and needless to say, boy is it good. also got the Live in Tokyo disc and my opinion of that one is going up.

Hey, was that a dig at Bird? ← Wow, Glenn......a 4-angry-smilie response. Your first, I believe. Welcome to the board! EDIT: Also interesting that your comment was construed as an insult to Bird. Was it interpreted as a reference to the famous Bird-plays-Bar Mitzvah gig? Had Tequila been written yet? Was he playing tenor? I think you were dissing Joe Henderson. Who the hell do you think you are? Anyhow? ← Yeah I was making a reference to that Bird at the Bar Mitzvah and yeah I doubt he was playing tenor. Who cares when Tequila was written, do we have to be so literal? Just having a little fun. Is that so wrong? I hope you survived it Glenn. But while we are at it, Bird was a man of few choruses and I think he is on record as making a negative comment on those whose solos include too many.

Hey, was that a dig at Bird?

These are the mini-lps with the thin carboard sleeves, 20 bit remastered 1)Sonny Rollins Plus 4 (VICJ-60321) 2)Brilliant Corners - Thelonious Monk (VICJ-60296) Mint condition $20.00 each delivered to a US address.

I have had Hommage for some time, but just picked up Blue Black and Nerfertiti. Have only listened to Nefertiti and must say it is a very good one.

And I don't think the problem is just the length of the solo on ODOU- it is also the character which is similar throughout. First, the intensity is very high during the whole thing- there is very little let up. (so if music is about tension and release, there is no release) This solo would definitely meet Gopnik's definition of "pure emotion". Second, the phrase lengths are very similar throughout. Sometimes the same phrase is repeated 4,5,6 or more times. This similarity leads, at least in my case, to a feeling of monotony. (And yet there is Trane's magisterial tone and the energy of the playing and the whole band.)

You are not alone!!!

I guess Arizona might not be looking so bad these days, right Catesta?

The cheaper ones do not have a sticker which says "This album is not similar to Coltrane's Ballads album"

that's what I paid for it for in their NYC store.

I posted what follows in the "Jazz in Print" forum and I can't figure out how to transfer it: I picked this up yesterday and I find the sound quality to be very good, superior to the recent Monk/Trane and Parker/Gillespie live recordings. There are some glitches - I think the word is "drop-outs" - in one or both channels, at least on the famous One Down, One Up ("ODOU") track. My big issue is that maybe the build up for this release is too much, because while I think the band sounds great, I have a hard time accepting that so many think that ODOU, clocking in at over 20 minutes, is the greatest or even one of the greatest Trane solos. Upon just an initial listen, I felt the ghost of Miles Davis whispering in my ear "just take the horn out of your mouth Trane." Just my two cents.

this thread should probably be moved to New Releases if we are going to get into a discussion of the cd as opposed to the newspaper article. that said, I picked this up yesterday and I find the sound quality very good, superior to the recent Monk/Trane and Parker/Gillespie live recordings. There are some glitches - I think the word is "drop-outs"- in one or both channels at least on the famous One Down, One Up ("ODOU") track. My big issue is maybe the build up for this thing is too much, because while I think the band sounds great, I have a hard time accepting that so many think that ODOU, clocking in at over 20 minutes, is the greatest or even one of the greatest Trane solos. Upon just an initial listen I felt the ghost of Miles Davis whispering in my ear, just take the horn out of your mouth Trane. Just my two cents.

Just to clear up the mystery, I still have my lp - you are not missing anything.

I am very sorry I missed this gig. I was at first reluctant to come because of the late hour and because I am in the burbs it takes me 2 hours to get home and I had to get up at 6:00 am today. However, last night I decided to forget all about that and decided I would come and was ready to go out the door but my son reminded me that I had promised to watch the Yankees game with him and if not he would not have anyone to watch the game with. I know , excuses ... excuses Anyway I am glad that the gig was a big success and I hope you can come back soon or else I will have to go to my college reunion or something to see you guys!! And hey that NY Times recommendation has got to be worth its weight in gold.

I hope everyone saw that the Organissimo gig at Kenny's Castaways on Sunday is one of the highlight gigs for the weekend in today's NY Times. congratulations guys!! that's big!

There's a beautful version of that by Johnny Hartman on his album "The Voice That Is"

Will respectfully disagree on the first two points. Out of all of Hill's first wave of BNs, I find both the melodies and forms (especially the forms) of these pieces to be the most clearly deliniated. Which is not to say that they're "better", just that they "stick" as complete, fully formed entities almost immediately, with little or no need for repeaed listenings to figure out what, in general, is going on technically. I'd even go so far as to say that for the "lay fan", that this is the most "accesible" of Hill's early BN dates. As for Gilmore, hey - both of his recordings w/Andrew are "desert island" recordings for me. He really brings a special flavor to the music, and his interpretations, in both melody and solos, are as perfect and as organic as any horn player that Hill's ever recorded with, imo. His natural style of fragmented motivic variation is such a perfect conceptual match for Hill's similarly fragmented-yet-together compositional style. I think he really gets inside the music in a way that few, if any, other horn players have. No disagreement on that third point, though. None whatsoever! ← I agree with JSangry's comments on this one and would only add that I think Gilmore solos on every tune and I think his solo space is equivalent to Hill's. He is so great on this album!!

I just noticed that the show starts at 10:45? Is that correct?

Don't know if you saw an article in the NY Times from Sept. 25 because it only appeared in the "Westchester" section. The article was about a Dr. Mark Feldman who lives in Westchester and owns Reservoir Music , a record , make that cd, label. The article says that Dr. Feldman was previously in business with a Dr. Robert Sunenblick, a fellow grad of the some medical school in Switzerland, who the article says is the current owner and operator of Uptown Records in Whitehall, Michigan. I assume you know this guy or are there so many record producers in Whitehall, Michigan? Just thought you might be interested.

anyone have an extra tickets for the October NYC shows that's not behind the stage?, let me know