Late

Ah — thanks! That works for me. I'll use your definition in my head now when I read that word in reviews. (For some reason, I've been seeing it a lot lately.) I gather what you mean about Pears' diction; I think it's also interesting that such exclusivity (as Britten apparently enjoyed, at least when he'd achieved a wider public profile) goes hand in hand with sensitivity and/or vulnerability — i.e. having one's feelings (when one isn't "understood") easily hurt. But I think we share the same feeling — doesn't stop me from enjoying the music. And, as I mentioned above, I'm still a rookie. I'll happily take a long time to absorb Britten's music. (I actually did live in England — though for only three months — and worked in a pub. I came across seemingly all gradations of the English language. What was frustrating was that, while everyone could understand me, I had a hard time making out certain grittier vernaculars. But when I finally memorized all the regulars' drink of choice, I graduated to being a passable Yank. Smiley face.)

True that.

I know what you mean by this, essentially, but I wonder (if you wouldn't mind) if you could put into words your definition of this term? Or at least how you're using it here? I've always found it curious for its negative connotation, and I notice (frequently) its use in the (for lack of a better term) "art world" — particularly poetry and painting. I have the "Britten Conducts Britten" box that Decca put out some time ago (was there more than one?). I like to go slowly (and randomly), and so have only heard about half of it. I do like "The Prince of the Pagodas."

A licensing nightmare, I'd guess. Almost every trio record up until 1968 (I think) is on a different label. There's Debut/Concord, Mercury, Savoy, ECM, ESP, BYG, Fontana/Universal, and probably more that I missed. I've put together my own home collection, and even then I have to keep checking discographies to see if I've missed something. Bill Evans seemed to get all the kudos in the early 60's, while Bley was making just as interesting music.

Both obi's clearly state "Made in Japan." (I'll have to check the inserts to see if they say the same.) Under "SSJ, Inc." at the bottom of each obi it says "BounDEE by SSNW." I don't know what that means. The price is 2625¥. I purchased The Message from CD Japan with a small (return customer) discount, and In Action from Dusty Groove with a store credit.

I think that's a very apt description of Britten's work, particularly the work outside of the operas. Have you seen Teresa Griffith's The Hidden Heart? It's a good documentary, even if one still doesn't learn anything particularly new about Britten. One arc of the narrative, though often couched in implication rather than direct statement, depicts Britten as being not at odds with his homosexuality — particularly when he was insulated by a select group of followers and devotees — but that his inclination toward younger boys, while never acted upon, was indeed a source of torment. Britten's sexual orientation, however, is not the documentary's primary focus. This is just as well, because his music offers so much to explore. This disc: is very much worth checking out. It's a mono account (the first?) of the Serenade, and I think it's excellent. (I've only heard one other, however.) This is the recording where Pears clicked for me. (For some reason, I equate "getting" Pears with "getting" Irène Aëbi — they're both acquired tastes? But maybe that would cause Pears fans to fume. I like both singers very much.) It also didn't hurt Britten's profile when his work was used in "Moonrise Kingdom" (to good effect, I'd say). I still feel I'm a Britten novice. I have about a dozen discs, and there's always something new to explore in each one.

The Sinatra Society of Japan has issued new DSD remasters of Monterose's The Message and In Action. They're in the mini-LP format, and are the best-sounding reissues of these classic albums I've heard. The catalog numbers are: XQAM 1622 - The Message XQAM 1616 - In Action I don't know exactly how or why the Sinatra Society (of Japan) is reissuing these, but I'm glad they did. The obi on In Action notes "JR Monterose Estate" — which means ... I don't know. Original source material? Legal permission? The Message especially sounds great. And the packaging beautifully replicates, down to the glossy cover, the original vinyl sleeve (though I've never actually seen a copy of the original LP). A note — there was an earlier (2005) Japanese mini-LP version of this album, put out by Jazzbank, that should be avoided at all costs. It sounded worse (to me) than the Fresh Sound issue. Just a heads-up for those that love these records and have (like myself, unfortunately) sound-upgrade-itis. Both are safe purchases, and very much (in my opinion) worth re-purchasing for the new transfer. And — yes! — In Action has the original black-and-white cover. Very nice.

A lesser-known set of Beethoven Violin Sonatas that's actually my overall favorite: I can't comment as much on the Bach sonatas from this set, because I keep spinning the Beethoven. Recommended! Another version I listen to, and am fond of for different reasons, is: I would, however, not recommend this set to those who don't care for fortepiano. It's an "historically informed performance," and the intonation of the 1684 violin is often variable. I still like it as something of an equivalent to what listeners of the day might have heard. I also have a soft spot for this XRCD (great sound, btw):

I wanted to bump this thread back up to support Opus Kura's excellent transfers of 78 rpm source material to the digital domain. This disc: sports the best-sounding 30's Kreisler I've ever heard (— way better than the old EMI transfer). Significantly, you can hear Rupp's piano with more dynamism. It's not just Kreisler's show; there's actual interplay here (which is something I didn't hear as much on the EMI transfer). I strongly recommend the violinst-centered "Plays Short Pieces" series (— these were some of the first discs Opus Kura put out). Discs by Mischa Elman, Nathan Milstein, Efrem Zimbalist, Joseph Szigeti, Bronislaw Huberman, Jacques Thibaud, and the above-mentioned Kreisler top the bill. If you have an affection for lovingly transferred "historical" recordings (crackly, yes, but also full of life!), please do try this series. (I have no affiliation. I'm just a fan.) The discs rank up there, and often (sonically) surpass, the work from other excellent labels such as Biddulph.

I'll keep listening to Dream Talk, and post some thoughts later (if I can share anything meaningful). My initial response — good sound, very interesting ideas, and introspective to a degree I don't hear in Evans. The Jazzhus packaging for this particular CD is very nice: it's a tri-fold mini-LP with an attached "pocket" in the middle for the disc. It works! A Dauner record I have been listening to quite a bit is Free Action. A totally different record than Dream Talk, and reissued in the wonderful Promising Music series, which has some of the best remastering I've heard. (Cecil Taylor's Fly X 5 takes the cake there.) Jean Luc Ponty sounds like a string version of Coltrane at this time (1967), and his playing (on violin) fits in better than I expected. Gerd Dudek is in fine form on tenor, and Eberhard Weber goes off on cello. It's a "free" album with a lot of structure, strangely enough. Though the improvisations are (or sound) unrestricted, the framework they're placed in gives each track a certain order. Hard to describe exactly, but I find it a brilliant listen. Parts of it remind me where Mingus could have gone (circa 1967) musically, when he began to focus on photography in favor of music performance. Still, it's a "European" record through and through, and is all the better for it in my opinion. A current favorite. Oh — Daniel. Do you have the reissue of Hammer's Maliny Maliny? It's very good! Hammer sounds almost exactly like Larry Young when he plays the organ (at this point in time).

Received these titles just last week. The stand-out disc so far is Manusardi's Free Jazz. This isn't Ornette's type of free jazz — the playing is in a modal vein — but the tenor player, one Dan Mîndrilă, does get in some surprisingly wild solos — think Gary Windo on Tes Esat, but three years earlier, and with too much of a reliance on trills. The Dauner is subdued but fine, and I need to listen to it more. The Piano Jazz disc is a rough needle drop — buyer beware. The music, however, is excellent. The compilation starts off with two Jan Hammer tracks (from 1967) that cook. His "Responsibility" is an attractive modal composition. I'm not familiar with the other pianists, but was surprised that the tracks weren't strictly derivative of American jazz (which the notes actually, and oddly, indicate). Recommended, but with an asterisk for sound.

Starting from the beginning of this thread — now ten years ago — it's amazing how many suggestions actually came to fruition. I'd like to hear more Sam Rivers on Mosaic. An Impulse box of some kind? Or a Complete Tuba Trio box set — the Circle Records stuff + any other tuba trio sessions. On a semi-related note, I wish Audio Wave would reissue Rivers' Blue Note work on XRCD — "Contours" in particular. Will likely never happen though. Would also love a Paul Bley trio box set of some kind. (Also likely never to happen.) And the home recordings of Jimmy Giuffre-Don Friedman-Gary Peacock! I've never even seen a boot of this trio. Maybe one doesn't exist. Now I'm just rambling.

How's the Pettiford?

"Meet My Mule Monday Morning Motherfucker — Amen."

Thanks for posting the link to that interview! I won't get my hopes up, but a big Lucky Thompson box set would be amazing. Pre-order (ka-ching!) I would.

I've picked up three titles on the Jazzhus reissue series so far: • Berndt Egerblach: Schizo This is a needle-drop, though the sound is still good. Egerblach is heavily influenced by Bill Evans, but when he's playing his own compositions, he gets a little more adventurous than Evans ever did. The bassist (don't have the liners with me right now) is excellent. Thumbs-up, especially if you like the Evans-LaFaro sound. • Jancsi Körössy: Seria Jazz No. 1 Not a needle-drop as far as I can tell. Sound is excellent. The music is very, very fine. Years ago, couw used to exclaim about Körössy. In fact, he introduced me to this record. What I like so much about Körössy is that he took his American influences (at this time, and to my ears: Wynton Kelly, Horace Silver, some of the chromaticism of Herbie Hancock) and fused them into a sound that wasn't derivative. If Körössy had recorded this album in the States, I think it would be something of a minor holy grail (at least to piano trio fans). His approach is so ... on — he mixes a sensitive touch with a hard sense of swing. • Johnny Raducanu: Jazz In Trio I've listened to this session the least so far, so I can't comment with any great sense of confidence. Sound is good. This is a bassist-led session. Raducanu's bass is well-recorded, but sometimes (at least in my listening so far) his solos seem to plod some. When he covers Mingus, I found myself wanting to hear Mingus play instead. But, I'll be returning to this one. I'm sure my sense of the album will change. I'm very enthusiastic about this series. I hope it lasts for a while! I have on order: • Wolfgang Dauner: Dream Talk • Guido Manusardi: Free Jazz • Piano Jazz From Czechoslovakia I wonder how titles get selected for reissue. I wish they could get their hands on JR Monterose's "Alive in Amsterdam."

Sub-contrabass saxophone and the "soprillo" (an octave above the soprano):

I've been trying to get Jonathan Horwich to consider reissuing Barron's Motivation. (I've had the cover art as an avatar for a while now!) It's a great record, and a fairly unusual one in Savoy's discography (rec. in 1972). It sounds like it could have been recorded eight years earlier. It's also obscure enough that even Jordi Pujol might not "reissue" it. I agree that Barron is an under-valued master. I wish he could have been given the Blue Note care (i.e. rehearsals, attention to details) that Alfred Lion graced his recording artists with.

The sound on this album has never been that good — in my opinion, I don't think the engineer knew exactly what to do with Jones' drums as they overpowered the piano. That said, I think this reissue is likely the best we'll hear. Coltrane's horn is especially up-front, which can make it sound shrill (it doesn't to my ears, though), especially in comparison to the recessed piano. Tyner's piano suffers the most on the issued (and now unedited) take of "Sun Ship," which is a shame because his solo is amazing. On Disc II, it seems the engineer made some adjustments, and the piano begins to sound quite nice. One noticeable difference in this transfer is that there's more of a "room" sound, which especially benefits the drums — cymbals in particular seem to resonate with more of a natural sound. Overall, I'd say that this 2-disc edition is a noticeable improvement (sound-wise) over the 1995 digipack edition. The added studio banter isn't particularly enlightening. There's really not that much (at one point, Jones suggests that one of the tracks be titled "F.U.") that adds to the "iconic" nature of the quartet. Ed Michel, it seems, gets bagged for his 1971 edits, but it's important to remember that he made those edits with Alice's approval. In the case of the original "Sun Ship" track in particular, Michel's edit (omitting a brief drum coda) to my ears was both astute and musical. The way (in the edit) the track abruptly ends with a cymbal crash is how I'll always know that song. The new, unedited version has far less drama (for its ending). Hold on to your 1995 edition if you know this album intimately. I'm very glad to have this new edition — I think it's worth the money — but I'll be programming a CDR version that mimics the original album sequence (also cued up very nicely by Michel). If you're on the fence, the (complete) alternate versions are worthy. If it were just a collection of false starts and breakdowns (and there are plenty here), then I'd be less inclined to give a thumbs-up overall. Some of the inserts, actually, have some incredible Coltrane playing. You get to hear, very briefly, the tape rolling and then Coltrane jump in for a minute or two. He turns the heat up almost instantly. Amazing, actually. If you like to "study" studio sessions, and you have a fondness for this particular recording, you won't be disappointed. And, if you like it only casually, I'd say that the sound is improved enough (though not stellar) to consider a purchase at some point. I don't mind the jewel case; it is what it is, and the paper inside will last longer.

Agreed. I have the Ellington Small Groups, Lunceford, and Hawkins — and love them — but always thought a Sam Rivers Trio* box set would be brilliant. * horn, bass, drums OR horn, tuba, drums ... OR (better) both! But I imagine licensing from all the smaller labels might be prohibitive. But maybe not? The music, overall, is amazing.

I first posted in this thread ... eight years ago! Finally found, and purchased, the CD of Angle. I must say, I think it's just as good as The Day Will Come. The later record likely has more memorable compositions — melodically, that is — and it feels more cohesive as a whole, but the earlier record is a little wilder, and in a good way. Barry Guy's playing is just phenomenal. The stand-alone duo track on Angle (Riley on piano, and Barbara Thompson on flute) is not a distraction, as I initially thought it might be. In fact, it's a very nice reprieve from the high energy of the proceedings. It's through-composed, and very short, even though it's in three movements. Sounds very much like contemporary classical, which isn't actually surprising given Riley's education and interests. What's especially nice about both Angle and The Day Will Come is that they were so well-recorded. Guy's bass is a joy to listen to. It's a small crime to humanity that these two CDs aren't out in the marketplace — at least readily and affordably. The CDs were initially issued in 1999. I remember when Dusty Groove sold them. (I think their price was $12.99.) I can't see Sony (unfortunately) issuing them again, but who knows? Searching for Howard Riley (without quotation marks), I hit upon this recording. Never have heard it, don't know who the artist is, but the title (given the thread here) struck me as humorous.

Abdullah Ibrahim Quintet featuring John Tchicai and Gato Barbieri. (Note the look into the camera at approximately 2:37.)

One selling point for Flight For Four, which I'm assuming will be purchased mostly by collectors (a portion of whom already have the RCA/Novus CD edition, which doesn't sound very good to me, by the way): there's a very fine bonus track not on the RCA/Novus disc. Entitled "Domino," it has Carter on tenor saxophone, sounding like himself, but also very much like Ornette (on tenor) and Coltrane (in spots). It's not a throwaway track by any means. The drumming is killer, and all four members are in top shape. In fact, Bradford's solo on this track ... Don Cherry would be envious. But it's the drums that make it for me. (I'm listening right now.) Anyway, I look forward to Jonathan's reissues ... all of them. I hope Self Determination Music is on the docket as well. In some ways, that album is even finer than Flight For Four. John Carter, Bobby Bradford, Tom Williams, Bruz Freeman — one of the least heralded, and best, quartets in jazz. Anybody who writes them off as an Ornette quartet clone ... is gravely mistaken.

I'm guessing that the same people who purchased the Hemphill reissue would want to purchase The Giant Is Awakened, even if Tapscott doesn't quite have the same name recognition. It's not simply a great record, it also carries some historical significance, documenting that lesser-heard "underground" L.A. scene of the late 60's. Arthur Blythe gives it his all, and the bass-drum tandem on the set (Williams/Freeman) is on fire — holding their own easily, say, with Haden/Blackwell. I've been living with a vinyl rip for years, and would love to hear what a JLH transfer would sound like. So, count me in at least. Oh, and for what it's worth, the cover art alone will sell some copies. Very hip.

Excellent point. I've read (I think around the time when Alice passed) that she regretted the original quartet dissolving. There's a quote out there somewhere to this effect. That point notwithstanding, the group seemed ready to explode anyway. To my thinking (at least), Alice and Rashied seemed the most logical next step. Just imagine the groups Coltrane would/could have had were he to have lived into the 70's and beyond. I'm sure they would be different than the 1966 quartet.