Late

I hate that! But it's still a thrill to receive (a la a package from Hiroshi ... alas) that parcel from Japan.

My experience with CD Japan is that if the item is marked in stock within: • 3-5 Days They'll be able to get a copy. • 3-7 Days You'll wait a long time, and they won't be able to get a copy. Not a rule, but my experience. They're excellent with pre-orders. I've received discs just a few days after their Japanese release date when pre-ordering. Their coupon/bonus points also get customers to return (at least it worked on me).

Agreed, and yet some of the voicings that Hasaan and Nichols lay down do sound similar. The way they play eighth notes and melodic lines, in contrast, is much different. I'm not pushing for a connection, but the similarities strike me as curious. Also agreed. I know jazz afficionados get prickly when someone says, for example, that Herbie Nichols sounds like Thelonious Monk, but I do wonder, say, how far Monk's approach to the keyboard made its way — consciously or unconsciously — into other piano players' work. With Monk, Nichols, Hope, and Hasaan, you have four very individual players, and yet they're loosely connected (or not loosely in the case of Hope and Hasaan) by a larger jazz family tree. I guess what I'm ultimately saying is that I can't buy wholesale the idea of "this person was this person," and developed-in-a-vacuum. The liner notes of the Atlantic record offer up some peculiar quotes from Hasaan. Almost like he had his own version of Lester-Young-speak.

From the NPR column: Journalist and critic Colin Fleming considers this show one of three or four greatest concerts ever given. The irony, he says, is that the experience was miserable for the musicians, who'd had an argument just before showtime. "Miles Davis is 37 at this point; his drummer, virtuoso drummer, Tony Williams, is 18; Herbie Hancock, the pianist, is 23," Fleming tells NPR's Rachel Martin. "Davis says, 'We're doing this for free.' And he's rich — drives, like, a Ferrari. Everyone else is like, 'No, we're not doing it for free.' They have a big row, they go on, and basically they play this kind of speed-metal, punk, thrash-jazz, with Davis acting almost as conductor." ======================= Ugh. This kind of quasi-reportage seems careless to me. Did Davis own a Ferrari in 1964? Were the ages of Ron Carter and George Coleman somehow irrelevant? (Why were Wiliams' and Hancock's ages relevant?) The word "basically" in journalism is an empty intensifier — it's meant to signify an in-the-know posture, whereas it almost inevitably points to the very opposite. And ... "speed-metal, punk, thrash-jazz" ... ? Please. Maybe in 1974, but not 1964.

I get where you're coming from. Even though it's a comp, you might try this one, especially if you can find it used: I often find that I like Cannonball best when he's playing other people's compositions, or is in other people's bands. That said, this: is one of my favorite (early) Cannonball leader dates. Some great solos therein.

I like that this is the only post from "HomageToDonByas." Listened to the Atlantic recording today. Tom Dowd panned Hasaan's piano far left — right on top of Art Davis's bass. Max gets (pretty much) the whole right channel to himself. The record (not the recording) itself is killer. Though Hasaan was mentored by Elmo Hope, I hear quite a bit of Herbie Nichols in his playing. Almost a missing link between Monk and Nichols. Anyone else hear this?

I'm on board with Nelson much, much more than I am with Leroi Jones. I also understand the somehow, somewhere. (Jones could have benefitted from that terra firma.) Marlboro Country? Sure, why not — as in this album, not yet mentioned I don't think: With Cannon, Nelson's touch works. Works well. I gave up my GRP edition of Sound Pieces many years ago. It's probably time to sleuth out the 2011 SHM-CD version right about now ...

Further thoughts on Sound Pieces ... ? I guess, I don't know exactly why, I have a love/hate relationship with this record. At times, it seems so prescribed and constricted. And then, at other times, it feels cosmically right — as if there were absolutely no alternatives to what ultimately was put into the wax. Fans of this record? Do you dig "Flute Salad"?

Bumping this to remind myself to check the Japanese version this week. I think there is no legitimate alternate take, and that the master and "alternate" are actually one in the same. It's a good excuse to spin this disc again. Haven't in some time.

May I ask where you ordered your copy from? (Amazon?) CD Japan recently cancelled my order for this disc.

I was just reading about this edition. Sounds interesting. Anyone here heard it? And ... anyone here happen to have the Japanese hybrid SACD version of the Klemperer (TOGE prefix) ... ? (It came out in 2012, but is already out-of-print.)

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.