wolff

Yes, what title? If it's not listed on Classic's site, try the on-line retailers that they provide links to(Acoustic Sounds, Red Trumpet, etc.). They may still have copies of OOP titles. The 45rpm editions go quick. Titles like Soul Samba, Open Sesame, Roll Call, Back to the Tracks and True Blue are OOP, but still around new if you look.

Put the stickers/warnings all over, but make them removable. I can't believe these guys would mess with album covers, especially BN's. I already keep a magnifying glass handy to read the liner notes. I buy cigars that can come in very beautiful boxes. The warning stickers are removable. Once again, the irony of forcing digital(and now, newer better technolgy ) down our throats has me LMAO. Couple this with the public domain issues that will be kicking them in the ass very soon and I have no idea how they will survive. Thank goodness there is Japan that treats the product and customers with respect. Also, I'm glad there is still tons of vinyl available, both new and used.

I have the Contemporary alternates....breathtaking!!! Can you give me any info on the RCA alternate takes. CD? Vinyl? Seperate issue of alternates or included in CD with album material? I have a few of his RCA LP's, but nothing with alternate takes. Thanks

Yes, there are a number of exceptions in my opinion(Maiden Voyage is probably another one). I think the sound can be good to very good(New York's and Liberty's), but when I play some other LP's from different labels I notice some flaws, or differences that are not to my liking. Overall, I like that the sound is very consistant in the original and re-issue New York's and Liberty's. I know what to expect and usually get it.

Just wait for the SACD or DVD-A as these recordings(not the music) need all the help they can get.

I have a deep groove (both sides) "Prayer Meetin"" which is very odd. I'm wondering if the sonics of the W 63rd's are consistantly better than later pressings, both re-issue and original. I wish I had more to compare. I have many original New York and Liberty's. While the sonics are good to very good, I do not consider them anything special(except mucically). They have a pretty unique sound that sounds highly processed. There are a few exceptions to this. It's like the engineer changed equipment or methods. This seems to be absent, to a large degree, on my few W 63rd's.

Do not get tired, get angry or creative. If more people really knew what the record industry will like in a few short years, I'd hope they would want to do something. Number one: All of your CD's need a sticker saying something like: This CD is from master tapes and original label, artist and owner of label get royalties. Beware copied public domain issues that pay no royalties, etc,. etc.....

The Buy 1, Get Unlimited $1.99 CDs still comes out cheaper for me.

Claude, you make some very good points. My interest and curiosity is towards, when the dust settles, what will things be like. Good or bad, in favor or against, things are changing quickly, and nothing is going to stop it. Do you think the outcome will be positive? IMO the outcome will be very, very negative, unless the original owners of the performances and albums get a handle on things and figure out a way to compete with the PD labels. They could liscense the tapes and art work at reduced fees. I feel many original labels are counting on SACD(I know SONY is) or even newer formats to keep the re-issue income coming in. I think they did not forsee the public domain issue.

I own 3 in mint condition. Compared to their re-issues and original New York USA titles, their sound kicks ass and is not fatiguing in the least. The music, of course is amazing, but I notice much more detail, warmth and accuracy of tone I miss on other Blue Notes. The highs still seem rolled off, but with less distortion. Much less of a veil or curtain in front of the instruments, which is one of my biggest gripes about other Blue Notes. Is it just me? Did they use 200 gram vinyl? It sure feels like it. I better take care of these 3, as unless I win the lottery..................

My first thought is the average consumer will buy what is cheapest, without looking to see who issued the CD or what the source is. In about 3 years the entire Blue Note 1500 series will be public domain. Will the tapes be worthless? Other than a few audiophile labels who will pay to have access to the master tapes? I have a feeling the original labels have no plan of action to compete. Many of the early Blue Notes of Miles, Monk, Silver, etc.. are already re-issued by public domain labels. Is this cutting into their sales? When the shelf space goes to the PD labels, because they are selling, will the original labels be out of business? Will they stop re-issuing titles? Will original label executives start going to work for the PD labels? I have a feeling the entire jazz re-issue scene will be completely and utterly different in just 1 or 2 years.

So, are these RVG's? Cape Verdean Blues Newk's Time (Remastered) Rockin' The Boat Never Let Me Go Right Now! Conquistador! Ready For Freddie Prayer Meetin'

First of all, I 'assumed' they would be RVG's without looking closely at description. Conn's from last BMG order: Mother Ship Bossa Nova Bacchanal Fuchsia Swing Song

My last order had a couple CONN's in it when I thought I was getting RVG's. I do not keep up with what all the CD issues.

How to you know BMG's CVB is the RVG? It says nothing about being an RVG in the description. Same with the new Newk's Time (Remastered) Rockin' The Boat Never Let Me Go Right Now! Conquistador! Ready For Freddie Prayer Meetin'

performances/albums becoming public domain around the rest of the world, I wanted to get your thoughts on the consequences/ramifications this will have on the consumer/original labels. I have read nothing from the owners of Blue Note/Fantasy/Capital etc. regarding this.

Glad you had great time!! That picture is great.

Freddie Roach marathon.... Down to Earth Good Move Brown Sugar All That's Good I guess I'm missing "Mo' Greens , Please".

Is this LP set on CD now? Lee Morgan Live Sessions Trip Jazz TLX-5041 willow weep for me peyote speedball ujamma ceora 2 record set recorded live at performances in the summer of 1970, in Los Angeles.

LEE KONITZ SUBCONSCIOUS-LEE RED GARLAND ALL KINDS OF WEATHER New OJC vinyl

If it were me (and it ain't, but if it were), this is the way I'd go. Anybody here live in (or near) San Diego???

Tonight I played an original of Blakey's Freedom Rider and Classic's re-issue of Stitt Blows the Blues. Great music and very good sound. Then I put on Zoot Sims and the Gershwin Brothers and was really struck by how real his sax sounded compared to the other LP's. Laughable. No contest, period. Once again, it was like walking into a jazz club. Big, full and rich. Close to real dynamic range. The other two sound too bright, with no midrange weight and EXTREMLY limited dynamics and recovery of detail. Sorry to talk about sound so much, but when it enables me experience/enjoy the music at a higher level I recognize it's importance. Blue Note's and Verve's have better music, but not sound.

Looks like some nice LP's. You may want to try Audiogon.com. My jazz titles sold FAST!! It's worth a try as it's free, also.

Someone may want to get this. Mingus Mosaic..vinyl Nevermind, it's gone.

I own quite a few Pablos on vinyl. I really like many of them, but also got rid of a few. As I've mentioned before, some have very good music and dynamic range that is life-like. Fantasy or their new owners ought to put together a "Best of Pablo" series(maybe 30 titles) and price them low and let us pick them.