HutchFan

I wouldn't mind hearing those too. But at least we can hear the stereo recordings -- and cheaply too. (I almost plopped for some Japanese reissues of this music. Glad I held off. It would've been more money for less music.)

How can San Francisco be the highest rated American city when the cost of living there is among the HIGHEST in the United States? Don't get me wrong: I love San Francisco. But it is RIDICULOUSLY expensive. And not just housing. EVERYTHING.

Not sure if this one's already been posted. It was issued in November 2015. Eugene Ormandy Conducts Sibelius (Sony, 8 CDs) Apparently, this box collects all of Ormandy's stereo Sibelius recordings for Columbia/Sony & RCA -- except for the Oistrakh Violin Concerto. I like Ormandy's way with Sibelius very much. I've heard his 2nd & 7th (on Sony) and his re-do of the 2nd (on RCA) -- as well as the Oistrakh VC. All VERY strong. Looking forward to hearing the rest. EDIT: Forgot to mention that it can be had for less than $20 postage paid.

Last night & this morning: Disc 5: Scènes Historiques; Rakavasta; Romance in C; Symphony No. 6 Sir John Barbirolli / Hallé Orchestra An unfortunate mustache -- even if our inevitable association is an anachronism. He sorta wrecked that look for everyone.

Nasty, rainy weather this evening snarled the traffic in ATL and made my commute home even longer than normal. This music helped me through it: Debussy: "La Mer" from Eugene Ormandy Conducts 20th Century Classics (Sony) Absolutely tremendous. Made my hair stand on end. With the Philadelphia Orchestra (of course). Brahms: Symphony No. 1 from Eugen Jochum - Icon: The Complete EMI Recordings An intense, Beethovenian reading of Brahms' First. With the London Philharmonic.

Larry, I've never heard that one, and I'd always wondered about it. Thanks for the heads-up.

Glad to hear that you've got a GOOD new place!

Cool! I got this LP today: Sonny Red - S/T (Mainstream, 1971) with Cedar Walton, Herbie Lewis & Billy Higgins

felser, have you heard this? Attila Zoller/Masahiko Sato - A Path Through Haze (MPS, 1971) Attila Zoller (g); Masahiko Sato (p); Yasuo Arakawa (b); Masahiko Ozu (d) I recently discovered it. I was drawn in by Zoller, but hearing it made me want to look further into Sato's music. It's readily available as a download.

You picked my two favorite Genesis albums -- regardless of format.

"The Ballad of Oren Bliss" from Rusty Bryant's album Soul Liberation (Prestige, 1970)

I didn't mean to imply that they're similar stylistically. Only that I've reacted to their music similarly. They're both impressive craftsmen, in my opinion. But not much more. Of course, this is just my take! Others may find much more in Piston (and Hanson, for that matter) than I've heard.

I don't mean to "damn him with faint praise," but that's been my experience of Piston's music too. It's well-crafted and competent -- but less than inspiring. In my mind, I sorta associate Piston with Howard Hanson. They have similar strengths and shortcomings, imho.

Thanks for sharing this, Mark. I'm looking forward to reading your forthcoming book too!

I love that recording. Walter's Das Lied with Ferrier is the "classic," but I think this version with Haefliger & Miller is just as powerful.

This one is solid: Jimmy Rowles & George Mraz - Music's The Only Thing That's On My Mind I've listened to the Waldron recording on Spotify. It's good. But not nearly as good as I'd hoped it would be -- especially given the monster rhythm team (George Mraz & Al Foster). To my ears, it's not on the same level as the Enjas, Soul Notes, and Hats from around the same time. Maybe it's less interesting because all of the tunes are standards rather than Waldron's own (terrific) compositions? I dunno.

Larry, I just read the article. No problems with access for me. I can only assume that Morson is overstating the problems with P&V. Of course, I can't know this for sure, since I don't read Russian. I'm dependent on others to tell me which is best. And there are many, many professors of Russian Literature who have endorsed P&V's translations. Also, I didn't mean to imply that translations don't matter. Of course they matter. The very act of translation changes the meaning of any work of art. But, in context, in the big scheme of things, I wonder if Morson is making these issues out to be mountains when in reality they are mole-hills. It's not like P&V are universally regarded as inept charlatans. As I said, many experts recommend P&V's translations. (And, by experts, I don't mean Oprah! ) There's always going to be disagreements about precisely these sorts of things in academic circles. ...I don't care to get caught up in it.

I've read War & Peace in a couple different translations, and -- naturally -- translators do make a difference. That said, I think some critics and readers of Russian can make too much of these differences. Garnett's translation was the first version I read, and it's usually looked down upon now. In comparison, the Pevear and Volokhnosky translation does seem less "Victorian." Tolstoy himself approved Maude's translations, and Briggs has his advocates. Just read the darn book, I say. Even if a given translator misses some aspect of the novel -- whether it's fudging on tone or meaning -- the greatness of Tolstoy's achievement is going to come shining through. Besides, there are all sorts of other barriers to fully understanding the book that are just as important as the translation (if not more so). For example, Tolstoy could assume that his readers would know about Russia's conflicts with Napoleon; it was common knowledge. But, when I first read the book at 19, I knew very little of Napoleon's life and campaigns and even less about 19th century Russia. That made for a bit of a tough slog at the beginning. But as I progressed none of that stuff mattered. The universality of Tolstoy's characters and his stunning portrayal of life carried the day. BTW: Under the spell of Tolstoy, I studied Russian for a few years in college. I wanted to read him and all the rest in the original Russian. Sadly, my language skills never got that far. Even so, I'm glad to have read many Russian writers in English -- even if I'm missing out on something. Sure, every work of art loses something in translation, but it hasn't been enough to keep them from being among my favorite books. One other thing: Here's some interesting reading on the topic of translating Russian literature: The Translation Wars by David Remnick (not behind a pay wall).

I'm not familiar with Carter or Abadey, but Aruán Ortiz has impressed me too. I'm especially partial to this one: Mark Weinstein - Latin Jazz Underground (Zoho) http://www.zohomusic.com/cds_detail.php?cds_id=134

I saw Lee Konitz do (pretty much) the same at a Birdland gig in NYC a few years ago. Konitz pointed at the offending videographer and sternly said, "Off!!! No music 'til that's OFF!"

And Waldron's collaboration with Terumasa Hino, Reminicent Suite!!!