HutchFan

You and me both. Yes. And Eugene Gregan's cover art is brilliant as well.

Another killer trio LP: The best Walrath-as-a-leader record I've heard. And I don't think it's ever been reissued. Good call. You hipped me to that one a while ago.

Ahhh. Music that transcends beauty. Music prompted by another thread:

Another . I only know Askenase's Preludes, Op. 28. I have them on an old Heliodor LP. Very impressive. Earlier today, during my morning commute: Still blown away by these warhorses... Yes! IMO, it's very difficult to top Munch in French music -- Debussy, Ravel, Berlioz. I suppose one might put Martinon and Dutoit on the "top shelf" with him. I still play Munch's Berlioz recordings more frequently than anyone else's.

Yep. I also immediately thought of Wounded Bird. I agree, felser. I have quite a few downloads, but physical media is always preferable to me. I guess there aren't enough old-school, "I-want-the-object" people like us make a viable business case for licensing -- at least for a mega-corporation like Sony. Argh.

Another one that I need to look into!

Thanks for the heads-up on these, Jim. Haven't heard any of them!

Hooray for Lucky and Konitz! ... And I would definitely say that Motion is "in the canon" these days. At least it is in my book. Not sure whether these qualify as obscure -- but they're some of my favorite (non-piano) trio records: with Tony Malaby & Tom Rainey with Chris Potter & Bill Stewart This isn't what you might expect from these three musicians. EDIT: One more!

Oh man. I'm bummed out to hear this.

Cool story.

Listening to the Rachmaninov works from this Lazar Berman set: - Variations on a Theme by Corelli, Op. 42 - Six moments musicaux, Op. 16 - 6 Preludes

Yes! Excellent! It's too bad that Buddy Tate's two LPs from the Sandy's gig have never been reissued. IMO, the Tate-led music is just as good as the stuff issued under Cobb's name. ... Maybe even better.

DSCH: Syms. Nos. 5 & 6

More Vaughan Williams as performed by Handley & the RLPO: and

Yes!!!

Now listening to Karl Böhm's recording of Beethoven's 9th: with the Wiener Philharmoniker and Konzertvereinigung Weiner Staatsopernchor Gwyneth Jones, Tatiana Troyanos, Jess Thomas, and Karl Riddersbusch Böhm's LvB recordings were some of the first I ever heard. Back then I was listening to vinyl, this box set: I think the cycle has held up very well -- at least when compared to similar "big band," un-HIP sets. Böhm's 6th, 7th, and 9th are still among my favorite versions. Nothing like first impressions.

I've been listening two versions of Vaughan Williams' Fifth Symphony consecutively: Sir John Barbirolli, Philharmonia O (EMI) and Vernon Handley, Royal Liverpool PO (EMI) Barbirolli is one of my favorite conductors, but -- in this particular case -- I think Handley's reading is more persuasive.

A few of my favorites: - Franco D'Andrea - Dialogues with Super-Ego / Es and Quartet Live / My Shuffle - Julius Hemphill & Abdul Wadud - Live in New York - The Jazz Tribe [Ray Mantilla, Bobby Watson, Jack Walrath, et al] - The Next Step - Ray Mantilla's Space Station - Hands of Fire and Dark Powers - Ronnie Mathews - Song for Leslie - Sphere - Live on Tour and Pumpkin's Delight - Cedar Walton - The Trio, Vols. 1-3 and Blues for Myself - Bobby Watson - Love Remains

NP: Beethoven: The Complete String Quartets / Belcea Quartet (Alpha Classics) Disc 1 - String Quartet No. 6, Op. 18/6 and No. 12, Op. 127

I'm not any sort of Bruckner "expert" either. I've just enjoyed what I've heard from Tintner. BTW: Since my original post, I've also heard Tintner's recording of Bruckner's 9th -- and I think it shares the same strengths as his 7th. Bruckner's music can sometimes seem "segmented," with abrupt transitions between musical ideas. With Tintner, I don't get that impression. OTOH, I don't sense he's "smoothing things out." It's more like he's navigating between musical ideas with aplomb, finding connections between here and there. Also, I've got to say that I think the Royal Scottish National Orchestra sounds superb on these two recordings. Of course, they don't have the heftier, darker sonorities that people associate with "Bruckner orchestras" -- like the Staatskapelle Dresden. But the RSNO's sound -- brighter, less heavy -- seems to be a perfect fit for Tintner's interpretive approach.

The Modern Jazz Quartet - Plays "No Sun in Venice" (Atlantic) Perfection. Sorry to hear that, sp. At least there's the music.