Late

It was recorded in 1958 on Jive For Five, a Bill Holman and Mel Lewis session on Andex. Rowles was on piano for the recording, and the track's title was listed as "502 Blues Theme."

Let us know how it sounds when you get it, and if you have any other versions to A/B it with.

I'm really looking forward to New Soil and Hub-Tones on (hybrid) SACD. I wonder if the distortion (is it distortion?) on the first track of New Soil will be given any special focus or treatment. Both Blue Note titles are some of my favorites. I really, really wish AP would put out an SACD of a Sam Rivers Blue Note title. Don't really see that happening, however. Even less of a chance for a Don Cherry title I suppose. (But I hope I'm wrong!) As for the Impulse! titles on SACD, I'd like to see East Broadway Rundown rehabilitated. It's never been one of the better sounding Impulse titles.

Forgot to mention that the sound on this disc is very good, especially considering the vintage. Some filtering seems to have been applied, but minimally. There's some inevitable hiss, but the music easily shines through.

About two years ago, I went through a tango music craze, and the CD that I keep coming back to (after binge-buying, and then selling some off) is one on the British Harlequin label, entitled Orquesta Tipica Victor: 1926-1931. I first read about this disc on Amazon, where there is all of one review. (Here's the link to the disc, including sound samples.) It was one of the few times where a review swayed me toward an impulse buy. I'm glad I was impulsive. This is some of the best tango music I've heard — it's also authentic stuff (as opposed to some more contemporary recordings which are only tango-flavored). If you have an ear for tango music, and know what to expect with recordings from the 20's and 30's, I strongly recommend this disc. It is music full of life. You can actively listen to it on headphones, and you can also put it on for dinner parties — both ways make for a great mood. Whenever I feel down in the dumps, I put this disc on, and I always feel a little better. Enthusiastically recommended. Any other tango fans here? Or fans of early tango music? (Or fans of the Harlequin label?) [Note: I don't remotely know how to dance the tango. I just love the music.]

Thanks for all the useful information, guys. All my dealings with DG in the past have been pretty positive, and I'm currently preparing a box full of CDs (around 25 discs) to sell to them. Some stores that buy used product give a higher rate if you take in-store credit instead of cash. Is this the same with DG? At Amoeba, the difference is sometimes considerable (up to 20% sometimes).

Break out the ...

Ever since Dusty Groove got into the used CD market, their New Arrivals page has been considerably more interesting. Some unusual titles have shown up, along with others that are probably more predictable. A few questions: • Has anyone here ever sold their discs to Dusty Groove? How was the experience? (Did you go to the store in person, or go the mail route? How are the buyback prices?) • What used CDs have you purchased at Dusty Groove? • Anyone else notice that "Japanese Pressing" is about as specific as they get with some Japanese titles? (Makes it difficult to discern which edition you're considering.) Share any/all your used CDs experiences with The Bards. We might be able to come up with some useful information. (Lots of us shop there after all.) Thanks!

Can a 3" CD hold 27 minutes of music? Would kind of be cool, in a boutique way, if this had only been reissued in that format. I actually have a fair amount of CDs (usually Japanese reissues) that are much shorter than 27 minutes. Anyone here still have any jazz 3" CDs?

I was listening to Betty Carter's Droppin' Things this morning (man, Marc Cary is amazing on that one), and then was looking to spin Newest Sound Around, in part because I was imagining what a Carter/Blake duo would have sounded like. Turns out I'd misfiled it. Took me over an hour to find the disc. I don't know how or why, but it was next to T-Bone Walker's Imperial Recordings. At any rate ... Why is Lee not as well known as some of creative music's other singers? Too individual? A relative unwillingness to compromise? Sometimes it's impossible to understand how greatness such as hers ends up being marginalized. Or maybe she wouldn't have seen it that way. Maybe being "marginalized" is a blessing in disguise? Share your thoughts.

Just read this thread for the first time. Great news. I still don't have the Cherry set (just noticed my typo — I meant Chu Berry set), so I can wait for the Hawkins, which I'll eventually get around to. Will it include the unaccompanied solos recorded for the Selmer label? Will the Rivers be the live trio work with Holland and Altschul? (Or was it McBee on bass?) Doesn't matter; I'll purchase. Braxton, Threadgill, Rivers. What's next in this line? Hemphill?

Strangely enough, that's the only MM I've ever been to ...

Dang, I didn't know that Music Millenium closed. I'm 100 miles south of Portland, but if you find your way down here, there's one store that still has a decent selection of vinyl (and a jazz section).

My roommate from college lives in Fukushima. He and his wife are OK, but I worry about the nuclear reactor. They're outside the 3 kilometer evacuation zone, but still. The tsunami after-effects have already hit parts of the Southern Oregon coast. I don't know if it's made it this far north, but I would suspect so. My wife was just doing earthquake training for her 2nd grade class. I've only ever experienced one earthquake, and it was a minor one (3-something).

I just purchased my first Blue Note hybrid SACDs this month, too. I like the sound, but I'm not used to it to be honest. I don't know if I still prefer the vinyl-like quality of the BN Works TOCJs, but maybe I do. At any rate, I'm happy to have the three I bought (Lee-Way, Maiden Voyage, Page One), and I think they'll grow on me in a good way. On Page One, I could hear, maybe for the first time, the Getz influence in Joe's playing.

If it were on Impulse or Blue Note, I think it would have far greater recognition. The lineup — Hampton, Joachim Kühn, Neils-Henning Ørsted Pedersen, and Philly Joe Jones — is badass, and they all seem exceptionally pumped up for the proceedings, giving 110% of their effort and concentration. The year, 1969, makes it an interesting record too. Kühn probably had to reign things in a bit, but he still goes wild in his solos, often reaching inside the piano. (His Keith Jarrettisms are distracting, I will admit.) As for Hampton, hmmm. It's the most "fourthy" advanced modal trombone playing I've heard. Flippin' great. Philly's playing, at this time, would be a good blindfold test, I think. The great snare licks from his time with Miles are no longer as prominent. I should probably talk about this record in a different thread. I already double-posted the loudness comments.

That makes perfect sense. I wonder, then, why I rush to the volume knob to turn a compressed recording waaay down. Is it only because I'm perceiving a "loud" sound? When I play the Hampton reissue mentioned above, it's almost humorous how low I turn the volume knob. It's approximately at "2" of the 1-10 volume spectrum on my player.

I'm sure I confuse the two at times. In my understanding, I was under the impression that dynamic compression (or upward compression) results in a louder sounding recording, and that the term "loudness" refers to frequency response, which doesn't necessarily indicate that a recording itself will be, or is, "loud." The Wiki page I linked to at the top of the first post uses the term "loudness war," but that might be a misnomer, as the actual "war" appears to be in regard to compression and not frequency response. The loudness war, as a term and as an idea, doesn't seem (to me at least) like BS, but rather a standard practice — that compressed, and thus loud sounding, recordings (or television commercials, or radio broadcasts) capture attention through a loud "audio image," which is sometimes referred to as a wall of sound. Maybe my real gripe is just with compression (at least as I understand it), and my surprise that it seems more and more common in Japanese jazz reissues. That's all — not trying to start a labored debate over compression and whether it's inherently bad.

Waldron with Wendell Marshall.

From this page, which is worth reading: TOCJ 50086, The Fabulous Slide Hampton Quartet is the loudest jazz reissue I have ever heard. I think this session may have originally been recorded on the "hot" side, but for me this particular reissue is almost instantly fatiguing. A shame; it's one of my very favorite trombone-led quartet sessions. There are at least three different CD reissues of this album. I'll have to search others out. Of the new "Jazz 999" TOCJ 500xx series, I've heard three titles so far. All are unusually loud. Even more of a shame; some titles are seeing their very first issue on compact disc. Maybe some other titles in the series will have more dynamic range than the ones I've heard. It's depressing to me that the Japanese jazz reissue market has seemingly bought into the loudness war. I don't have an iPod or earbuds. I have nothing against them, but how much, in your opinion, are they a culprit in this "war"?

I've always thought that Dexter Blows Hot and Cool was a somewhat undervalued record in Dex's discography. Nothing out of the ordinary, but very, very swinging in that laid back Dex way. Some fine Carl Perkins on that set too. The Bethlehem date is also nice.

Ellis live at Tanglewood, 1968. Dig Frank Strozier and John Klemmer. And the almost-Sun Ra matching outfits.

Here's a guess: It's the only listing of "bt" — which I'm guessing is short for bass trumpet — that I see from this page.

The huncher is Max Roach. Don't know the mystery trumpet player. I'm guessing the photos were taken at the Lennox School.

From this page: TOCJ 50086, The Fabulous Slide Hampton Quartet is the loudest jazz reissue I have ever heard. I think this session may have originally been recorded on the "hot" side, but for me this particular reissue is almost instantly fatiguing. A shame; it's one of my very favorite trombone-led quartet sessions. There are at least three different CD reissues of this album. I'll have to search others out. Of the new "Jazz 999" TOCJ 500xx series, I've heard three titles so far. All are unusually loud. Even more of a shame; some titles are seeing their very first issue on compact disc. Maybe some other titles in the series will have more dynamic range than the ones I've heard.