Late

Do the Blue Spec-2's have the "extra minutes"? I'm guessing they're from the 2006 remaster ... ? (I was just about to order them from CD Japan ... )

And if The Unique Thelonious Monk sees reissue in this series, I hope this cover art is used. (Even though the postage stamp version is unforgettable.)

I don't have any of these SHM-CDs (yet), but I noticed that a few of the albums go back to (what I presume is) the original cover art. Thelonious Monk's quintet sessions with Frank Foster and Sonny Rollins (from different dates) is a fine example. I wish this series had done the same for Monk's trio date — maybe this is the 10" cover art? It looks like Monk is voicing a C6 chord there? (C-A-E-G)? Also, the Rollins with MJQ session from this series uses the original orange duotone cover (as opposed to the ubiquitous yellow version):

I don't have that box set.

I'm not sure which Atlantic reissue program you refer to. I have around 10 Japanese Atlantics 60th Anniversary issues - WPCR 2xxxxx, they all sound excellent. I wasn't aware that these issues were thought to suffer from loudness/compression etc. The 60th Anniverssary reissue series, just to be clear, does not suffer from loudness/compression — in my opinion.* I was referring (above) to the most recent (1000¥ WPCR) reissue series. * (The 60th Anniversary edition of Jimmy Giuffre's Jimmy Giuffre 3, for example, is the best-sounding version of that album I've heard. Finer than the Mosaic edition, in my opinion, and mucher finer than the original U.S. edition. Sadly, it does not contain bonus tracks.)

Yes. I personally prefer the WPCR reissues, for a variety of reasons. I sold my "Beauty Is A Rare Thing" box set, even though there are six tracks you can find nowhere else (not even in Japan). I think the 2012/2013 WPCR Coleman discs (selling for 1000¥) are very good (not perfect). My favorite from this particular series is Ornette On Tenor. That one, to me, does sound excellent. (I just love that record, too — it's still overlooked, in my opinion, compared to other Coleman records.) For The Shape of Jazz to Come and Change of The Century, I would probably not purchase from the WPCR (1000¥) series. I would look for earlier Japanese editions or the hybrid SACD mentioned above. This post (of mine) either makes things a little clearer ... or a lot less clear.

I can't wait for The Giant Awakens. That is one of my all-time favorite records. Self-Determination Music is also excellent. Jonathan — would you ever consider for reissue any other titles from the Revelation catalog? Gary Thomas, or the Jerry Coker "Re-Emergence" record? .

I think the cardboard mini-LP reissues you're referring to are actually repressings from an earlier (pre-2012) edition? If I'm not mistaken (and it's possible I am, of course), these have different remasterings (i.e. not as loud) as the latest editions. One example is Change of The Century, a 24-bit edition that doesn't sound compressed to me. BUT, I'm only going by ear here. I've never checked discs for their actual output levels (though I appreciate very much when posters here do that and then report their findings). I'd like to hear that ORG Music disc. To All — I didn't mean to stir the pot regarding loudness or compression. I was just trying to inform skeith — as much as I could — of the options out there. The Japanese editions contain the original vinyl track order, which (for me) is a bonus; it seems like skeith was looking for that. I think we probably all agree that the music is great — it is! Everyone, of course, is going to have different opinions and/or perspectives on which edition of any given album sounds good (or not good) on their system. Lon's right — it's nice to have so many options. My hat's off to erwbol, too, for informing us all of his findings with current (SHM-CD) remasters. I, for one, really appreciate it.

CD Japan states that these discs are available within 3-7 days. I received an e-mail today informing me that Sun Ship and Stellar Regions would now be available within 3-4 weeks. Has anyone here had any luck actually receiving items from CD Japan when this type of availability update occurs? Such delays more often than not lead to cancellation in my experience. That's what I pretty much figured. Dang!

Yes — I said that. Just like yourself, I played my vinyl of these albums more than the box set. I don't own the vinyl any more, and actually just sold my copy of the box set last week. I've been enjoying the recent Japanese reissues (prefix WPCR) of Ornette's Atlantic work quite a bit. There's a thread on this board where the general consensus on this reissue series (as a whole, not just the Ornette reissues) is that it's too loud — i.e. compressed and ear-fatiguing, but I'm not hearing that as much on the particular reissues I have (Ornette!, Ornette On Tenor, and For Whom Who Keeps A Record), maybe, in part, because some Atlantic sessions were recorded at low levels and (to me) can benefit from some (judicious) compression. I have The Shape of Jazz to Come and Change of The Century on earlier Japanese editions, and, to me, they sound amazing. I grew up with this music as a teenager, it's imprinted on my brain, and I don't mind the hunt for (so-called) "better" sounding editions. But, short answer — if you know this music in its original vinyl order, the Japanese editions retain this order (which I think is hugely important for The Shape of Jazz to Come in particular), and I think they sound pretty good. If you do a search for WPCR and Ornette Coleman on CD Japan, it should pull up all the current reissues. The previous series had AMCY as its prefix. My favorite Ornette Atlantic album, This Is Our Music, is being reissued in Japan on March 26th. I never liked the sound of the Sepia Tone reissue, and hope this new reissue at least sounds different. The music of course is staggering. Some of my very favorite Don Cherry solos contained therein.

CD Japan states that these discs are available within 3-7 days. I received an e-mail today informing me that Sun Ship and Stellar Regions would now be available within 3-4 weeks. Has anyone here had any luck actually receiving items from CD Japan when this type of availability update occurs?

I'm guessing there are some board members here, like myself, who are fascinated by etymology, or word histories. Just yesterday, I reread (I had actually read it before, but had forgotten) the word history to "cappuccino." There's a Jackie McLean connection! OK, I'm going to type out what my dictionary states about cappuccino's word history: "The history of the word cappuccino exemplifies how words can develop new senses because of resemblances that the original coiners of the terms might not have dreamed possible. The Capuchin order of friars, established after 1525, played an important role in bringing Catholicism back to Reformation Europe. Its Italian name came from the long pointed cowl, or cappuccino, "hood," that was worn as part of the order's habit. The French version of cappuccino was capuchin (now capucin), from which came English Capuchin. The name of this pious order was later used as the name (first recorded in English in 1785) for a type of monkey with a tuft of black cowl-like hair. In Italian, cappuccino went on to develop another sense, "espresso coffee mixed or topped with steamed milk or cream," so called because the color of the coffee resembled the color of the habit of a Capuchin friar. The first use of cappuccino in Enligh is recorded in 1948." Whew!

As soon as your disc begins to play Track 1, hold down your scan button to go back. There are some (I forget exactly how many) seconds of studio chatter and playing before Track 1. That's exactly what I tried, but it never worked. I first had a European pressing, bought upon release. That disc became scratched and I replaced it with a US pressing some years ago. Hmm. Well that's no good! I just now got done playing the hidden index. I was wrong — it's more than a few seconds. It actually goes back, from Track 1, for 2:30 — but, oddly, music doesn't start playing until 1:35. It plays, suddenly, for one second (Trane's horn), and then abruptly cuts out. Then, almost immediately, it shifts to studio chatter — Rudy (or is it Thiele) calling the take numbers, and Coltrane talking to Rashied about his entrance. Coltrane says: "I'll start first, and then cue you." As soon as Rashied starts playing, Coltrane cuts the take, and says "You can come in stronger." So, as you can see, non-essential, but curious all the same. What's really weird is that, as the digital track counts down to zero (and the beginning of Track 1), when it gets to 2:00 — instead of going (as anyone would expect) directly to 1:59, it goes to 1:60! A bizarre extra second; I've never seen this on a disc before, ever. I guess it shows that time can indeed be shrunk and expanded — and that there's no better place to do it than on Interstellar Space, where Coltrane is our guide into the quantum cosmic wormhole.

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 haven't. I'd have to imagine it sounding better than the 24-bit TOCJ edition. I have a number of gaps in my TOCJ collection (Hank Mobley BN 1568 and My Point of View come to mind, as well as Into Somethin'), but I haven't been actively seeking them out. The TOCJ of Soundin' Off, on a related note, I think sounds gorgeous. It's one of my favorite Reece titles.

I've never thought the mono edition of this record sounded very good — and I'm usually a mono fan. I only have a rip of the stereo edition, and it sounds like a different album. What do other posters here think? Mono? Or stereo? This record would seem a perfect candidate for XRCD treatment, as Mobley appears beloved by that reissue campaign.

Gotcha. I started doing that, initially, with the 24-bit TOCJ series. They're all sold off now, except one: Dizzy Reece's Star Bright. It still sounds fairly horrible, but it's the best edition I've owned. (I've never heard the Mosaic Select edition; the JRVG was excruciating.) I wonder what this SHM-CD series could do with that Reece title. Some hip Mobley on that date. If you're inclined, do post your response — positive or negative — to that Shorter disc when time permits.

As soon as your disc begins to play Track 1, hold down your scan button to go back. There are some (I forget exactly how many) seconds of studio chatter and playing before Track 1. They're not essential by any means, but I've always found it curious why they were appended in this "hidden" manner. I would have never known about them if Michael Fitzgerald hadn't posted here some years ago about their existence. Now I have to dig out my copy of Interstellar Space and listen to those seconds (!) again.

If you end up liking Interstellar Space, I think you'd like Stellar Regions. The latter is, in my opinion, one of the most accessible late-period Coltrane records; I personally think it's a stronger record than Expression. Cosmic Music is more for Coltrane collectors and/or completists. The music is good, but (in my opinion) it's less essential. ______________________ Now — here's a question: I wonder if the Japanese SHM-CD of Interstellar Space will have the hidden track (or hidden "index") that the U.S. digipack edition contains.

On a different note, I keep forgetting that "SHM" stands for "Super High Material." Does that tag make anyone else think of ...

The Shorter only, or other SHM-CDs? I'm interested in hearing your response! (Even if you don't care for that particular SHM-CD, you will have the bonus tracks, so that can't not be some type of plus.) I'm wrong on this. The two alternate takes come before the bonus track "Just For You" on the new SHM-CD. Doesn't really matter, of course; I already pre-ordered based on my positive reaction to the SHM-CD of New York Is Now!

I'm glad that White and Blackwell's box set is out there. Who else would be willing to commit to such an obvious labor of love, and actually make it happen? When the two were on Charlie Rose (not that that's any great litmus test), their sense of earnestness and respect for the music was palpable. I can only imagine that that box set will lose them money. Blackwell is on record that he's willing to work with the GHB Foundation regarding the dispute at hand. Perhaps Neal Pomea's right — perhaps White and Blackwell made some bad assumptions. And, if Mr. Pomea is also right about federal copyright in the year 1970, what's exactly at issue? I think White and Blackwell's "stand" for the music itself is ultimately more admirable than a stand — and a seemingly tenuous stand — for what, on the surface, appears to be a money grab. The underlying irony is that Paramount could essentially have cared less about the music.

This thread had me revisit Sun Ship, Meditations, and Stellar Regions. I had forgotten how much I like Meditations in particular, and how dismal the original pre-digipack U.S. edition sounds. I ordered the SHM-CDs of all three titles. These, plus Max Roach's Percussion Bitter Sweet, a record I love but didn't actually have on disc at all.

Thanks for all the posts. I have three versions (Walter, Giulini, and Bernstein with Ludwig & Kollo), and probably reach for the Walter the most. I need to hear the Klemperer; I like his way with Mahler, particularly the 2nd symphony. I'll be hearing Das Lied live for the first time in May. Looking forward to it. I agree with David — Mahler is great live! Whenever there's a Mahler performance within driving distance, I try to go. ========= Related: I only have Horenstein's 9th, and like it, but need to listen to it more. There was a time I was collecting Mahler more than listening. That's changing now, and Horenstein is on my backlog. Anyone here heard Mitropoulos's Mahler? Perhaps even more eccentric than Scherchen's (e.g. fast tempi), but I think Mitropoulos's overall intent works. I like Scherchen's 1 in an old Westminster recording.

I made some comments above, but I'd give an emphatic yes — the SHM-CD has clearer bass, an improved soundstage, and Joe Chambers' drums sound much more present. The horns are very present, so that might take a little getting used to, but overall a big . The other SHM-CDs I'd recommend, so far, over previous editions are: 1. Ornette Coleman: New York Is Now! 2. Thelonious Monk: Genius of Modern Music, Vol. 1 3. Thelonious Monk: Genius of Modern Music, Vol. 2 4. Sam Rivers: A New Conception Some SHM-CDs, while sounding very good, don't provide what I (personally) would consider a sizeable sonic upgrade from their TOCJ predecessors. They are: 1. Miles Davis, Vol. 1 2. Miles Davis, Vol. 2 3. Joe Henderson: In 'N Out Don't get me wrong — the above three SHM-CDs do sound very good. I just don't think, at least so far in my listening (who knows — I could always change my mind) that they sonically trample the TOCJ editions. One perk of the Davis SHM-CDs is that they offer additional tracks that the TOCJs do not. Same for the Henderson (i.e. one track). If I didn't have a number (um, a lot) of TOCJs already, I'd be swooping down on this series like a hawk. As it is, I'm trying to be selective. We'll see how long that lasts. Overall, when I listen to these SHM-CDs, my response is: .