Shrdlu

What a terrible loss. My first Hubbard album was a mono LP of "Ready For Freddie", complete with the nose and toes in the dead wax (actually we never looked for that back then). The LP sound was fantastic - just about jumped off the disk. It's still my favorite by him, but he made so many awesome albums.

There is actually a recording of Wes with Trane? Much as I like them all, I can't really imagine Wes with Trane and Eric Dolphy. What a ridiculous mismatch.

Trane and Pharoah Sanders doing "Manifestation", lol.

Wonderful to have Max still around.

I love Nat, but could never face the idea of 18 CDs of the trio. I guess you have to space your listening out.

Go to DailyMotion dot com and check out Milt with Oscar Peterson doing "For All We Know". Superb backing by NHOP and Martin Drew.

Full bodied, lol.

I agree, Hans. How muddy they sound - as if they were recorded inside a cardboard box. What a shame that those fantastic recordings in 1960 with McCoy and Elvin were done for Atlantic and not Impulse. Elvin's drums are badly muffled and Rudy recorded him so well.

I finally got the LP off of eBay a couple of years ago. It was very hard to track down a copy. And yes, it hasn't been out on CD apart from that Japanese version, which is also a swine to find. I like it and the other Impulse album (for which I did find the Jap version, which is one of those delightful LP facsimile jobs). But Curtis's Savoy and BN sessions (and his appearances with Blakey) are far superior.

I don't like the Artois version, lol. Tastes like weewee. Jim, concert G is a piece of cake on the alto - E, of course. I started on alto and my buddy at the time played pop guitar. All pop and rock guitar players play in concert E. It's the only key they know. That's C# on the alto, which I had to learn in a hurry - and isn't all that difficult.

Arrangements on the CP album are square, old man arrangements, not even coming close to Comstock. It's ironic that most (not all) of the "jazz guy plus strings" albums had arrangements infinitely more square than you hear on so-called "easy listening" records from this period. Right! All the Bird with Strings tracks suck.

Frank Whostock??

Don't forget Lucky's recordings with Bird and Diz on Dial (1946). He had a heavier sound then, more Bean influenced. I, also, love the "Lucky Strikes" album. Like Zoot and Gerry Mulligan, he sounds like himself, but higher, on the soprano, with no trace of Trane influence.

and?

Trane had a very nice speaking voice. As well as on these interviews. you can hear him on the Miles 56 quintet sessions (even the LPs had them) and on some Impulse out-takes. Must add this, lol: "Block chords, Red!"

Viagra is great for font problems. I hear.

The Columbia engineers in the 50s and 60s, and, of course, the 30th St. Studio, are hard to beat. But although I agree that the vast number of RVG recordings shears our expectations, I do like Rudy's work (I'm referring to the original recordings). The piano doesn't sound natural, but we are all used to it, and I like it too.

I don't remember Stan's sound changing. One of the things about him was that when the surrounding musicians changed, he was still Stan Getz. Far and away the best tenor mouthpiece is the gold metal Otto Link. That's the stuff babee! Players as diverse as Bean and Trane used it, and I love mine. I have one for alto too, even though I don't currently have an alto. Strangely, I couldn't get one for my soprano, but the metal Selmer mouthpieces are great - that's what Trane had too.

Well, 6" is the average.

But weren't the Hackensack stereos almost mono sounding anyway? Rudy has said that he didn't like those early stereos, and it's no surprise that his CD sounds close to mono. The RVG CD is the only version of this that I have ever heard, and it sounded fine as far as I remember. But no doubt the TOCJ is the best CD version. They almost always are.

Great to hear that things are now looking up. And welcome to the board, Rob! I can't tell you how many hours of listening pleasure your Dad's records have given me. My favorite track is the version of "The Prophet" from the "Soulbird - Whiffenpoof" album - the one with Richard Davis. Favorite album has to be "Hip Vibrations", which has never been reissued on CD. Just the other day, I bought some bongos, a cowbell and a temple block, and I got the "Soul Sauce" album out to play along with. It was a natural first selection. Hee, hee, my son's mate, aged 18, was really getting into "Guachi Guara".

My nearest Borders is now actually Starbucks, lol.

Rudy recorded separate mono and stereo mixes well into the early 60s, and the mono releases up to about the 4100 mark were not just collapsed down stereo. There was a thread about this a few years back on one of the usual boards.

Great stuff guys, lol. Keep 'em coming.

I have had excellent results just hooking my turntable up to the line-in on the computer, using Musicmatch (software). You need a booster amp between the turntable and the computer - you can get those at hifi stores. And, you need to run a ground wire directly from the turntable to the computer chassis, or you will have hum city. To do that, I just poke the wire through one of the holes in the back of the computer. The results sound better than any CD reissue, whatever the intials of the reissue; that remark even covers the Japanese CDs. Only problem, LPs crackle.