Shrdlu

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.

Carny says it well. I remember those days vividly. We had one of those neighbors who was always the first to have everything. (Who didn't, lol?) He got this stereo player, which was one of those wooden box sets with the speakers not really far enough apart. We kids all went around to hear the ping pong games and so on. (Pong ping if the speakers were the wrong way around.) I liked stereo from the outset, and got into it as soon as I could afford to. "Blue Train" wasn't out in stereo until about the late 60s, and the separation on that is so little that it might as well be mono. For a quartet or smaller, there isn't much to be gained by having stereo. Other first things that that neighbor had included Trane "Live At The Village Vanguard". It was my first exposure to Trane and I was shattered by the soprano, bass clarinet, McCoy Tyner's new chord voicings and Elvin's fantastic drumming. Don't remember whether his LP was stereo, ha ha.

Perhaps it doesn't really make sense to compare two sets of music just because both are Mosaics, but easily my favorite Mosaic set is the Buck Clayton Columbia Jam Sessions collection. As soon as that thirties Basie-style rhythm section locks in on the first track (Moten Swing, what else?), it's pure audio delight. (The section is the Basie section, apart from the Count not being on piano.)

Great album. I never heard a bad session with Stanley. Sadly, this was Sonny Clark's last session.

It sounds very deep to say "I don't want it to be called jazz". Trane also said that. But what's really wrong with calling it jazz? It never bothered me at all.

Just shows how desperate they are to get rid of weed. Why do they bother? I'm off to have an egg, even though it will give me a heart attack.

Rudy did the 2002 version, which was a 2 CD set called the Deluxe Version. As well as the original album, which makes up the 1st CD, it contains some alternate takes on CD 2 - these were mostly unissued. Some newly unearthed tapes were used for CD 2. It is not clear whether these tapes also included the tracks on CD 1. I suspect that CD 1 was taken from the same source material as all the other CD reissues, though. Bottom line is, that it all sounds great, even the track that had to be taken from a vinyl 45. Parallelling this set is another 2 CD set called the Deluxe Version of the album called "Coltrane". Most of my comments apply equally to that set. If you're into Trane, you will want both sets.

lol, this has to be the oddest thread title ever on here. Btw, tomato juice gets rid of skunk smell, so it might work on cat piss.

Do you know what the current meaning of "scat" is, lol?

Grace's recent track, "William's Blood", is awesome, in spite of the off-putting hair. By the way, on the subject of some of these people being Christians, you gotta be joking, lol.

I love those three Braith BN albums. I didn't like them all at first, but I now do. I think the later tracks are better than the very first ones. Don't miss George's playing on John Patton's "Blue John". I think that's my favorite by him, though I have not heard any of his non BN work. Look for the Japanese issue, if you can find it.

This guy is spot on! Last time I was in Borders (and I had not been into a record store in years - I only went in to use the john - doesn't that say something?), I was a little shocked to see the former CD area shrunken down to almost zilch. There were a few pop CDs, and the mandatory odor of Starbucks' coffee, and that was about all. Plus all the stupid new books on display. Promotion of music online is where it's at. They should look at what the house producers and DJs do: they all have a Myspace with music samples, and, more often than not, a free download of some long sets.

The departure of Bush will be a good start. And if we could also get rid of the U.K.'s Brown, that would also be a groove. But there is no-one good to replace him.

"Café del Mar", Michael Woods Out of Office remix. Great mix, with heavy bass riff. (The original song is based on a composition by a Belgian "classical" composer, called "Struggle for Pleasure". Both it and the new mix can be heard online.)

Good question! I am a lifelong jazz fan, and will always be. But my experience is that you get a lot of geeks and nerds at live jazz events (I have no idea why) and so I tend to avoid them. If it's live, then I go for clubs where they play house. The people there are, for the most part, very friendly. They are there to have a good time. And the evenings are almost always a real groove. Plus, you can dance as well.

Aric, they have used a variety of guys over the years - alas, including you-know-who. Malcolm Addey has done some outstanding work for them, including the wonderful Mulligan Concert Jazz Band set.

That opens the door to this point. One of the proofs that the Bible is the Word of God is its preservation. The oldest book, Job, is about 3000 years old now. (Not sure of the exact age, but it's about that. The human author, Elihu, was a contemporary of Abraham.) None of the original autographs of any of the books of the Bible exists, but God has seen to it that copies survive, and that it was all perfectly transferred into the English Authorized King James Bible, English being the universal language of the end times. We are worried about our beloved 50s and 60s session reels decomposing, and that's only 50 years or so.