robert h.

have no idea why this kind of trash is allowed on this board or why this pig of a person is allowed to continue posting his filthy rantings. To quote Nessa: "I like Clem. " I like Clem too. Don't always agree with him, but he's almost always worth reading. If he has something worth saying, he would be smarter to say it without the juvenile fuck and ass garbage and could do with a little basic english grammar and punctuation would be nice in the company of those over 13. This guy is a prime example of the degraded kind of trash that passes for communication today, and that some here actually think it's ok just confirms how low standards have sunk to. Ah well, anyways ....fuck it. Enough of this shit for tonight, huh.

have no idea why this kind of trash is allowed on this board or why this pig of a person is allowed to continue posting his filthy rantings.

Sounds fine to me too. I had the original Rhino CD and the MFSL aluminum, this latest mastering is an improvement. It's true that this was a pickup from the in-house system and, like many live recordings of the period, has some ground hum (audible occasionally) and is perhaps not too polished, but it is warm and full and has plenty of presence - and excitement.

The Rhino box is nice but everything that's essential is on the new double CD, in reality, Aretha's performances from set to set were very close to identical, so the double set contains everything that's really different and avoids the repetition.

It seems I was. Those are the ones which would have to be changed and it won't happen. That's where my problem is. They play on a quality system, but sometimes fail on others, and may not be 100% future compatible. I'd like to think consumer resistance helped stop it but maybe not. Exactly my original point - there's no reason for the record companies to change anything in the unlikely event they repress. They would simply grab the glass master and send it to the factory. Just like dual disc, it was a poorly thought out product in the first place. I have my doubts about forward compatability of dual layer SACD's also (indeed, I have severe doubts about their durability also). All these are just another example of why recorded music is dying, it is that record companies became adversarial with their customers in order to 'protect' their physical product and their investment in a model which was no longer relevant, but which they had substantial interest in trying to maintain - even when it was clear that their customers wanted a service, not something they didn't want forced down their throat. Let's face it - when buying a product generally pisses off the customers, but they buy it grudgingly in the absence of a good alternative, the product is marked for extinction the minute customers find that alternative - in fact, they will pay more and compromise quality to move off it, such is their resentment. That's what's happening to physcal music, and CC is simply another symptom. It's entirely unlikely that consumer resistance had anything to do with dropping CC. The record companies are long past having any concern about their customers. It was simply the ineffectiveness of the control and an accounting decision that the cost was no longer justified.

Evidently the master used to 'press' the CDs has the CC applied - it is not a process applied to the actual CD. Not least, it includes an extra non-musical track, which is plainly part of the master. Many of us already own this music in other formats. The sonic effect when you put the disc in the car, in an old PC, or in an ageing CD player, is that it won't play at all - which is a deficit, I'd say. How many of these disks do you own? If you are referring to the glass master used to press the actual discs, yes, the glass 'master' has the CC applied, of course it does - did you think they etched it into the disc after manufacture?!? - but not the digital master from the tapes, which is what most would consider to be the 'master'. CC is added to the digital master as an intermediary step between digital master and the glass master disc. Evidently. As far as how many CC discs I have - LOTS, and it doesn't bother me in the least, but then again, on an audio system like mine, it's pretty hard for something to be really bad, and I don't obsess over minor sonic differences. In my last 3 cars I never had a CC disc that wouldn't play fine (although all, including my new Volvo, reject most dual layer SACD's, talk about another stupid format of the labels), I don't listen on a PC and my 5 year old Dell plays CC discs fine anyways, and I wasn't aware that age caused CD players to have problems with certain discs, but like I said, CC was never a great idea.

With these types of titles, there will in almost all cases never be a repressing. Simply nowhere even slightly close to any demand. CC is not applied at the mastering stage. But in any event, if a title were to be repressed, it would certainly be CC again, no reason to even spend a dime changing anything given the market. Sure, CC was never a great idea, but aside from the issue of ripping copies, the sonic effect is miniscule at best. Certainly it is no reason to avoid missing great music.

I was also wondering why that thread was so abruptly shut down.

There can't possibly be enough threads lamenting the abandoning of the great Jazzmatazz site. Who cares if they are redundant? Sure beats the incessant threads obsessing over some trivial issue of minor sonic variation on the umpteenth reissue of some old warhorse. Maybe more threads will encourage the revival of Jazzmatazz or the emergence of a quality alternative, it's ansence is a huge loss.

Phenomenal 2005 release (France only) YUSEF LATEEF & Belmondo Brothers Band "Influence" double CD set, any new Lateef is exciting but this is just a great record, Lateef on a variety of instruments but primarily tenor and flute. $30 plus shipping. TEDDY EDWARDS Tango In Harlem OOP trio date with McBride and Higgins on the Verve label, $15 plus shipping. ARCHIE SHEPP & MAL WALDRON Left Alone Revisited European import Enja 2002, $10 plus shipping. Shipping in North America is $3.50 - thanks!

There are actually more than 3 Japanese Blue Note reissue campaigns. There was also the HSS campaign and more here and there. Mostly the original series were simply taken from the American CD masterings and generally reflect the era they were made in - sound is lackluster and not terribly faithful to the tapes. The TOCJ's are liked by some but I suspect that has more to do with harsh, un-natural sounding CD players than any qualities of the transfers, because I find them overall soft, diffuse, lacking detail - not so great. But I can see why that might be a tonic for screeching CD players. The RVG's in general are superb. Whether they represent the original vinyl faithfully is irrelevant and arbitrary, they are overwhelmingly the best possible representation of the material in 2006. The newest Japanese series of 24bit remasters are curiously good. They completely supercede any previous issue other than the RVG, and even compared to those, it becomes a matter of taste - they are less of an interpretation than the RVG's, which is valid, and are not as crisp and detailed but are very musical, relaxed and have good detail. I wish both the Japanese 24 bit series and the RVG series would continue, the Japanese have long led the way on Blue Note reissues.

A few things that come to mind in this discussion. First, I wonder how anyone could be so naive as to not realize this goes on everywhere. Look at not only record review publications, but audio mags (despite protestations by editors the free equipment or paid junkets to reviewers game has been going on for decades) and plenty other publications - and it's much worse in the online publishing world. Second, considering a publication's advertising department contacting a record company to ask if they want to take out an ad when a review of their product is running is not at all unethical, it is actually a good service to the company - after all, if my product were being reviewed, I would certainly want to reinforce the review and leverage it through an ad. Nothing wrong with the mag asking if they want an ad in the issue. The key thing we have to realize here is, just like television or any other medium, the magazines do not exist to sell subscriptions or for newstand sales primarily, they exist to sell advertising. Subscriptions and newstand sales determine ad prices, but editorial ethics do not. Sure, it could be argued that unethical publications will lose their readership, but unfortunately, history does not show that to be true. Anyone who relies on reviews primarily to form their judgements must be forewarnwed of the unreliability of reviews due to the underlying commercial conflict.

Selling a few more Japanese mini-lp CD's, all OOP titles, $15 each plus reasonable shipping (usually $2.50 or $3): Budd Johnson with Joe Newman "Off The Wall" great Argo session Chick Corea "The Song Of Singing" Blue Note RVG with Dave Holland Milt Jackson "At The Museum Of Modern Art" Outstanding title with James Moody on flute and Ron Carter among others, ultra cool inner on the Limelight label Dave Holland and Barre Phillips "Music From Two Basses" on the ECM label.

Now that Jazzmatazz is for all intents abandoned, looks like AAJ is the best and only game in town for info on upcoming release, so I'm grateful for it. I'm actually hoping the upcoming page can be expanded to fill the void created by the loss of Jazzmatazz, by adding known releases farther into the future and adding expected, but not precisely scheduled releases.

Added Freddie Hubbard's Night of the Cookers, Volumes 1 & 2 (2 discs), Blue Note RVG 24 bit remasters, together for $25.

Joe Lee Wilson now gone, Art Blakey's African Beat RVG added!

A few really good ones this time...all Japanese mini-lp format, in perfect condition, $15 each plus shipping ($3 to North American addresses). CHARLES MINGUS Mingus Mingus Mingus, Impulse 20 bit K2 remaster JOHN COLTRANE Coltrane Time, United Artists RVG 24 bit remaster HERBIE HANCOCK Inventions & Dimensions, Blue Note RVG 24 bit remaster ANDREW HILL Blue Black, EW DSD remaster ART BLAKEY The African Beat, Blue Note RVG 24 bit remaster FREDDIE HUBBARD Night of the Cookers, Volumes 1 & 2 (2 discs), Blue Note RVG 24 bit remasters, together for $25. Email if interested - thanks!

Rollins XRCD now gone!

updated with 2 new titles July 22.

Kirk's Slightly Latin and Graland's Auf Weidesehen are now gone!

Offering the following, $14.99 each plus $4 shipping: Roland Kirk Slightly Latin 24 bit remaster Roland Kirk Third Dimension 24 bit Mastersound remaster Thad Jones & Mel Lewis Orchestra Live In Tokyo Denon DSD remaster Albert Ayler Spirits 20 bit remaster Steve Kuhn Three Waves with Swallow, LaRoca 20 bit remaster All the above are Japanese mini-lp versions. Also, in standard jewel cases for the same price: Red Garland Auf Weidersehen 2006 24 bit MPS remaster Dave Liebman & Richie Beirach Omerta 20 bit remaster of a rare title. Please email if interested - thanks! ADDED JULY 22: Japanese mini-lp CD's: Sonny Rollins Saxophone Colossus very rare XRCD in mini-lp sleeve Keith Jarrett Treasure Island Universal 24 bit remaster in mini-lp sleeve Same price, $15 each plus shipping.

Coltrane recorded so much during this period that sometimes RVG's studio was booked and he had to go elsewhere. RVG's wasn't exclusive to Coltrane, you know, and if he got the urge to record, Van Gelder couldn't just cancel another artist for him at a moment's notice. Also, although it's not likely that Sunship was a case of this, sometimes Coltrane booked his own studio time because Impulse couldn't foot the bill for the massive amount of recording he was doing. he was recording far more than his contract provided for and sometimes, despite Theile's efforts to convince the record company, they just wouldn't do more speculative recording.

Blue Note does in fact have much less little known titles than Fantasy/Concord. But it's not that they only reissue warhorses as RVGs. We'll have to see how the Concord series develops. At the beginning, Blue Note reissued mostly very popular titles as RVGs, and only later the less obvious ones. I just wish Concord wouldn't RVG the same titles they reissued on K2 CD or SACD less than 5 years ago. I know what you mean about doing titles as RVG's so soon after the K2's. I guess that when Concord took over they decided to go to the RVG direction, makes much sense because the RVG's have such cachet that they must competely outstrip the K2 in sales, and to make the RVG's catch on they would have to throw in the obvious ones. SACD is just such a dead issue that any reissue in that format is largely irrelevant to a company's reissue plans now. But - I'm thrilled about how many not obvious ones they have thrown in. The Honeydripper is just amazing, not just sound, but incredible music that just blows the tired Jimmy Smith BN's away. Really looking forward to the Yusef Lateef - it took Verve years before they even bothered to try reissuing a Lateef title, and his best stuff is on Impulse and remains unreleased - great to see him appear so early in this new series. I hope they keep it up, and keep the flow of titles coming so quickly.

????????? Jack McDuff - The Honeydripper Lockjaw Davis Cookbook V.1 Charles Earland Black Talk Yusef Lateef Eastern Sounds Groove Holmes Soul Message Etta Jones Don't Talk To Strangers Oliver Nelson Screamin The Blues You don't think those are "wildcards" - less obvious stuff? Unlike the very conservative Blue Note RVG series, that does release the occasional off-center title but is dominated by the warhorses, the Prestige RVG series is not only thankfully much more prolific - but DOES have some fantastic, yet little known, risky titles. Some people just like to complain, I guess.

Not updated since May 30 - anyone know what's up? Vacation? Or not something worse, I hope - best (only) site for keeping up with the schedule!