Big Beat Steve

Actually, John, back in my university student days in the early 80s I fancied buying such a contraption for the 50s classic I used almost daily then (although these car record players would literally mill away the grooves of your 45s over time). But at about 250 Deutschmarks for a good working one - a PHILIPS Auto Mignon, the (relatively speaking) most common one here in Europe - it was out of reach for my student's purse, and by now average prices for a comparable one have quadrupled, so still nothing doing - as long as a minimum of common sense prevails ... Seems like he has seen the (strobe?) light.

Pleased to hear straight from the horse's mouth of the wise that I am quite normal after all in my vinyl listening. Because in fact I regularly do drive around in a classic car indeed.

+1 :tup You nailed it.

Doctor Blues! Panama!! Feeling The Spirit!!! Jersey Lightning!!!! :tup :tup

So you'ved got the ground covered for 20s Armstrong, Oliver and Morton? That would be important to know because that already is a wide field. Any preferences or personal favorites from what you've heard there? Generally speaking, if you want to try a wide field and get a general taste of 20s jazz, why not try one those very broad-minded compilations such as Vol. 1 (1900-27) and 2 (1927-34) of Allen Lowe's "That Devilin Tune" box sets? Each has 9 CDs, and the track selections are very eclectic and not what you would consider a "All Time Evergreens" compilation of jazz from that period but they cover a very wide field and there is good reason behind each of those track selections. Listening to compilations such as these that also cover the ground outside the rut of the obvious might help you explore the whole range of jazz (well, almost ...) from that period and find out for yourself which kind of artists/bands/orchestras you would like to investigate in greater depth later on. Another important aspect: Pre-1925/26 recordings that were recorded acoustically and not electrically can sometimes be rather demanding to listen to (remastering - GOOD remastering - notwithstanding). The fidelity just is "different". Are your ears tuned and adjusted to that? Because if listening is a chore you won't get that much enjoyment out of it. And that also dictates any recommendations that you might find useful.

Me too. They tried to turn me into a rightie in primary school in the second half of the 60s but never succeeded. The last one to try was my dumbass biology teacher when I was 10-11. No dice ...

The one Uptown release that impressed me most was the FIRST I ever bought: SERGE CHALOFF! What impressed me most about it at the time (of course this is a standard set by all the Uptown releases) is the ability of this label to REALLY fill gaps in discographies, its extremely thorough liner notes, and of course the music (which in this case struck even more of a chord with me because it was something way off the modern jazz reissue/resurrection rut of the umpteenth hard bop item ). I am very, very satisfied with all the other Uptowns I have since bought, but my favorite ones are those by Dodo Marmarosa, Allen Eager and Sonny Clark. Bird and Diz at Town Hall are a class by itself, the Mingus is fine (but as some tracks had been around elsewhere before it wasn't quite that much of a totally new experience), and I must admit I haven't dug deeply into the Hank Mobley CD yet.

Maybe a sort of continuation of this anthology of Spanish jazz? http://www.freshsoundrecords.com/jazz_en_barcelona_1925-1965_-_grabaciones_historicas_3_cd_boxset-cd-4359.html

Just so that it be said: Clunky & Jeffcrom, please don't feel like you are just dialoguing among the two of you only. I for one do check out this thread regularly and keep marveling at the 78s originals you keep digging up (including the label and album cover shots). While I have a good part of the music you are discussing (20s dance bands and very early blues possibly excepted), it is on reissues, of course, and my collection of 78s is light years away from yours and there is not really much new to be found and added these days anymore over here (and I don't feel like taking chances at having 78s shipped across the pond anymore) so I cannot really contribute much. But by all means keep up your input!

+1 :tup

Yes it is even more tragic if someone you KNOW is affected. Another added tragedy in all this is that unfortunately it is only too likely that this won't change a thing about that gun toting cult in too many places in the USA. All the deaths suffered in such amok nightmares are so very senseless but maybe some of the deaths would not be totally and utterly senseless if at least they served to shake up society at large and get people to think, to REALLY think the underlying attitudes critically over. http://www.nytimes.com/2012/12/14/opinion/why-we-let-the-school-shootings-continue.html?_r=0 ""]¶ I came to realize that, in essence, this is the way we in America want things to be. We want our freedom, and we want our firearms, and if we have to endure the occasional school shooting, so be it. " Shocking ...

I put my LPs in racks along one wall of my music room. Not much dust settling there even in those corners where I don't often touch the LPs so they don't get shifted (as it happens, in most of the bottom row). Occasional vacuuming with the open tube will take care of what noticeable dust there might settle in corners and crevices. My 45s are in smaller (open) boxes along the top of the shelves near the ceiling but not much dust settles there either though many of these boxes often don't get shifted (picked over) for a long time.

Now for some a little bit meatier sounds that go with this hat too:

Uh oh ... did Chewy usurp Chuck Nessa's account??

it depends on to what extent you would rate Benny G's larger 1948/49 lineups as "bop" lineups (they do figure on many of the bop-influenced BG reissues), but to the best of my knowledge, guitarist FRANCIS BEECHER also is still around. (He incidentally also was on the April 14, 1949, SEPTET session lineup that also included Wardell Gray, Doug Mettome, Clyde Lombardi etc. so should indeed qualify as part of the "bop GROUP" members). Many of you will unwittingly will have heard Francis Beecher often through the years: In fact he is FRANNIE Beecher of Bill Haley's Comets (do I hear anybody yell "heresy"? ) fame and appeared on most of his hit records as well as in his movies etc. Only a few years ago he finally retired from the lineup of the revived Comets (that regularly toured all over the world) due to health reasons but AFAIK he is still with us.

His album in the RCA Victor Jazz Workshop series (1956) is a very interesting one. His "Just Too Much" album on RCA (1955), OTOH, really is an oddity in places (and I am NOT talking about the cover artwork! ). Not bad really, but talk bout MM never coming to rest anyplace (see the link above) - maybe Hal Schaefer had his own moments like that at that time too. His version of "All The Things You Are" on that album sure sounds restless to me, as if he wanted it to get it over and done with as fast as possible ... And maybe I'm stating the obvious but others of his albums certainly were a lot less jazzy. Got his "Music That Reminds Me Of You" (UA, 1961) among a batch of others one day. Mood music if you're in the mood for it ("Sweet Sue" with strings all over the place and mildly dissonant piano up front and "Alexanders Ragtime Band" taken at sleepwalking tempo - ouch ...). Some previous owner of my copy seems to have had ambivalent feelings about that one ... two tracks got 5 stars, most were marked "SL" for "slows", and "among My Souvenirs" is annotated "Too slow - even for nite time" whereas next to "Solitude" it says "Pure garbage"! (Though I have a feeling TTK might feel differently about this album ...) At any rate, Hal SChaefer sure got around.

Tell the "Studies In Jazz" series publishers, not Vernhettes/Lindström. As for making niche things "cheap" - be careful. Cutting costs/corners will show up eventually too. Very, very sorry to say this but you ought to know THAT from experience too. Just see the number of glaring errors in the booklets to the "Devilin Tunes" CD series. Yes - this CD series IS great for its musical contents, but don't you think too that the booklets could have benefitted from somewhat more throrough proofreading etc.? (Yes I know the quality of those sets is very, very much OK for your selling price and does offer good value for money but doesn't that prove my above point?) And yes, I know this may not be P.C. to make such statements HERE and I am sorry if my reply appears like a rant about these complaints about pricing but it just is so that I really fail to see why you keep breathing down the neck of the self-publishing authors of the above books. There ARE MUCH more "meriting" targets in the US of A, i.e. a much closer point to START. And in case you keep moaning about the cost of overseas shipping from Europe to the US, that door swings both ways too. Some time ago I ordered a "special interest" niche product book from the 'States where they charged a flat shipping rate of $25 for every book, even if you ordered several of them (which normally would cut on overall shipping costs per item by ANY postal fee scheme). Though I had a hunch an effort to put this in a Global Priority Flat Rate envelope or box could have cut costs, there was nothing doing. I took the plunge anyway. In the end the product was worth it. Same case again last year with another niche book from the same publishers. Relatively expensive shipping on top of the book price but that's the way life is. Take it or leave it. In short, if you feel the book is worth the price (including shipping) - buy it. If you don't then don't. No use whining though. Nobody forces such books upon anybody at gunpoint.

Oops .. a hefty price for some minute pitch correction (unless one can snap up one or two of those moderately affordable UK offers).

The original Roost vinyl (LP2224, The Bud Powell Trio featuring Max Roach") too, then, I suppose?

That's the one I was referring to above. Of course, as the other posts here indicate, it all depends on how you prefer your jazz from such a long career. Period recordings from the climax of the career, combos, big bands, solos, mainstream from later periods, whatever ... And if you want to go the whole hog (for his earlier works) in one go, it might be sensible to shell out for this and have the ground covered once and for all:

His late 30s/early to mid-40s big band recordings are a MUST!

As for this being legit or not, that discussion is pretty pointless within Europe. Even with the current revamping of the P.D. laws here in Europe where they intend to extend copyright protection beyond the current 50-year P.D. limit (thanks Paul McCartney and Cliff Richard - as if those journeyman session men allegedly involved in pop hits were to benefit from this copyright extension to any significant degree ...), if you read the contents of the new rules closer you will find that the present situation remains the way it is now even after this new EU legislation comes into force: What has been in the P.D. at the time the law becomes effective remains there, but what has NOT YET been in the P.D. will be protected by the new cutoff date (70 years instead of 50 IIRC). So nothing changes for stuff first released (recorded?) up to (currently) late 1962. As for the 1963 material in the Solar catalog, it appears they are really going far out on a limb and probably are living on the premise of "who'd care enough to sue them". So if they come under fire there they don't deserve any better. As for earlier material, no problem IMO as long as it concerns European sales. After all, why should a P.D. limit of 50 years be any less lawful than a 70-year P.D. limit? Or to put it another way, why should a 1941 recording that legally is in the P.D. in the US be any more legal than a 1961 recording that CURRENTLY legally is in the P.D. in Europe as long as the buyers are within the respective jurisdiction? The shady side about all this P.D. business IMO is not so much the P.D. aspect but stealing previous (recent!) remasterings done by others who put a lot of effort into their own reissues (regardless of whether done by majors or indies). It cannot be a total coincidence if a given recording is reissued for the first time in a long time and then all of a sudden the same reissue crops up on several other P.D. labels as well, nor can it be a coincidence if a given selection of tracks is reissued on a certain specific theme of music and then another packaging on the same theme comes up with largely the same selection of tracks. So I'd not so much be wary about allegedly too "recent" 50-year P.D. cutoff dates (particularly if it concerns stuff that NOBODY has touched reissue-wise anywhere else in recent decades) but about re-reissues of material that very recently has already been reissued elsewhere. Don't know where to classify the abovementioned PJ items in this respect, though. As for U.S. buyers, decide for yourselves and judge your U.S. resellers for yourselves and act as you feel comfortable with. BTW, what's the secret about Pujol having a "Barcelona connection"? That's where he is. See the fine print on any Fresh Sound CD. The Jazzmessengers site CLAIMS that Solar is a French label, BTW.

I think you mean 24-bit; there's no such thing as a 25-bit remaster. :g :g

Did you calculate the overseas shipping costs yourself or was this an automatic process by eBay? You know ... stating U.S. shipping wil be 4.00 but "overseas will be more", and then the Shipping Calculator indicates a whopping $34.25 for ONE sole 45rpm set for shipping to Europe ... wow! That sure IS "more". And that's sure to frighten overseas buyers away. I realize USPS shipping rates have gone up but but THIS...? From previous experience (though admittedly not very recently) this cannot possibly be correct.

:rofl: :tup Gotta remember that one!