Clunky

ok how hi do you have to be to call a tune,,,,,, Klacto-Oveeseds-tene best title ever IMO

Anyone familiar with Ory know about this LP I picked up today "The Legendary Kid Ory in concert". It's on Vogue with Tracks recorded live at the Shrine in 1949 ,1951 and 1952 and Panama (sic) 1951. Presumably a Gene Norman originally but is this a compilation? AMG list nothing .

He regulary provides CD reviews and occasional articles. His recommendations are never less that solid IMO

is P.O.W a good one?, passed on it today, was that a mistake?

I don't have this but am really fond of John Lewis, he really seemed to underappreciated. Damned for formalising the MJQ and removing their swing. Theory seems to be that the MJQ only floated due to Bags. I've never really got the MJQ thing but Lewis's later solo and trio work is priceless. Evolutio 1 an II being wonderful.

no remote on the Sugden , the Nait does. I struggled with this issue myself before purchase but decided to go for sound first and features second. The Sugden has a mono button B) and balance knob if that helps

Flurin The UA1A would allow analogue input to it from any source, most conveniently you'd use the "tape out" from your amp, this would allow the UA1A to monitor any input device tuner, turntable, MD, VHS etc. I'm sure you could connect the output of any source direct to the UA1A if you wished. Here the UA1A would act as a A/D converter taking the analogue signal and feeding the PC with a digital signal. I went for the UA1D because it allows the signal path from MD to CD to remain digital all the way. ( avoiding D to A and then A to D conversion steps). One other point of note re the UA1D is that if the source is digitally protected ( ie a MD clone) then the signal will not pass. So if you had made a MD compilation (ie 2nd generation digi copy) by copying digitally from a source MD then you would have problems. Hope that's clear ?? I've not needed to try this . I have some broadcasts recorded which originally spanned two MDs . By compiling these onto one MD by the digital route I would have problems try to use the UA1D.

I recently auditioned the Nait 5i ( new integrated amp), I thought it sounded great and has the ability to use standard RCA connects in addition to their own system. It doesn't have a pre-out so upgradability is an issue. Good timing, punchy sound and wide sound stage but limited top end detail. None the less a very nice sounding amp. Went for a Sugden A21a in the end. Everything (including Blanto Webster Years set) sounds wonderful on it. Try before you buy whatever. Use your ears and not someone elses !!

Back to things Funny Rat ,......................just received Nefertiti, the Beautiful One Has Come, quite exciting stuff was this originally a double album or was some of this not on the original issue?

i believe on board sound cards are subject to interference and degradation of the signal to some extent. The UA1D is effectively an off board sound card and connector all in one.

if you dont have digital output ( like most walkman MDs) then the UA1A has analoge RCA inputs

I got if from these guys http://www.dolphinmusic.co.uk/d2/page/shop...36fe2e65eacc211

I use an Edirol UA1D USB lead , takes optical and digital co-ax outputs from my MD deck. plugs into my laptop and voila, real time only record to HD and subsequent track division and CDR. This lead cost around £60 if I recall and it's been well worth it

there are four separate CDs of the Village Vanguard sessions ( and a complete 9 cd box) that would be a good place to go next. There is of course the enormous Galaxy 16CD set but honesty I wouldn't recommended it first up, as it's highly repetative. I can only listen to it in small doses and even then get muddledas t owhicjh disc I've played as they are all pretty similar ( and of similarly high(ish) standard). Don't dis his earlier work too lightly- Smack Up is a superb progressive session from 1960 which is a million miles on from the session you mention.

sorry should have said these were homemade CDRs of the broadcasts, these sessions don't appear to be downloadable

tis excellent stuff. sound of the LPs is top notch. Gary did you get this?

thanks for the tips, went for amazon.co.uk market place just over £13 inc. postage from Germany- not bad. ... now... will I like it.................?

thanks

Gary where did you source Willisau from, i'm having difficulty finding it at anything other than at stupid prices (£15plus)

Currently replaying recent BBC broadcasts of Brotzmann trio ( studio sessions broadcast June 03 and April 04) and Evan Parker Trio 60th birthday USA tour (Seattle). Both very interesting, probably prefer Brotzman's session as it's closer to "the tradition" than Parker's. Both need further study. Saturday off to see the incredible Fredrik Nordstrom quintet, should be a blast. He's a very fine player IMO.

Re; Ari Hoenig / The Painter Trio versions of "I Mean You" and "Summertime", with Schwarz-Bart laying out, open and close: in between the quartet material is all written by Hoenig, in one case with an assist from the tenor-player- - The outside material has been chosen, you quickly realise, because Hoenig can indicate the shape of the melody from his kit before the action starts, A little gimmick, but it doesn't stop the first from being extremely lively and entertaining: pianist Pilc plays well to the drummer, and it skews the traditional view of the piano trio. The finale is a confirmation of what an interesting drummer he is, able to do gently-swishing and fine detail, but at his best hammering to a crescendo and getting a very full sound out of his kit. The bass drum's a bit too prominently recorded throughout: that sometimes distracts but also sometimes helps his densest passages. As a composer he's less secure; much of the time there's not enough in his lines to justify the attention - and repetition - they get: the titles in themselves render a sense of uncertainty perhaps. Once into open water, however, the excellent Schwarz-Bart (why does that name make me think of something else?) and Penman's powerful bass can usually goad Hoenig into yet another rampage around his kit. Highlight of this part of the disc is the co-written "Condemnation", which pressure- cooks from the start and might make you think you're listening to David S. Ware's quartet - when they're on form too. Recorded at a New York venue, some with audience, some without, it's a remarkable debut album, and clearly has been carefully prepared, the range of the band fully declared. And begs the question - whatcha gonna do for the next one? No doubt we'll find out, but for now it's well worth a listen or three. JACKCOOKE from Jazz review April 04- review of The Painter

I picked up Vols 2 and 3 in the series. Not bad sound wise esp. on Vol3 from Holywood and side one of Vol2 . Performances fairly ordinary but worthwhile. I keep these.

Hewitt played at Smalls, a New York club which flourished after the repeal of the cabaret card system, two or three nights a week for nine years. These trios represent working groups, and they recorded these sessions ''as live". The first five tracks, with Lovelace, were recorded on May 16th, those with Rosenfeld on June Sth 2001. Hewitt died on Sth September 2002. Since the majors ignored him, friends and colleagues established a label to release music by him and other members of the Smalls community. This release is puffed as "the first volume of historic recordings" and I very much hope it will, indeed, prove to be the start of a series. I only wish this could have happened in Hewitt's lifetime. I love his choice of songs. When I first got into modern jazz, every LP or gig included one of these tunes, and usually three or four of them. They have now been ousted from their place in the repertoire by newer, usually lesser, standards. The only original is Hewitt's "Frank's Blues", standing for all those other bop twelve-bars, classic or otherwise, that leavened every session. Hewitt's playing brings back all the enchantment of that honeymoon period before I became such a jaded old curmudgeon that I turned to criticising albums in a specialist magazine ... in 1966. Hewitt cited Bud Powell, Thelonious Monk and the somewhat neglected Elmo Hope as his main influences, but Tatum and Hines sometimes make an appearance, too, Like Monk, Hewitt can encapsulate the essence of a piece with a string of chords. He is a very lyrical player, one of those musicians who insists on giving as much weight to verses as to choruses. He has a bright, crisp right hand, but you'll find it unusually rewarding to focus on his Jeft-hand work, which goes beyond supporting rhythm and thickened harmonies. This is most readily noticeable on "I Remember You", where the counterpoint of signpost chords and complementary melodies is especially potent. Finally, a nod to Roland, who is an interesting soloist, almost always using the bow for solos, sometimes shifting rapidly from arco to pizzicato within a single phrase, and occasionally throwing in some humming to boot. OCR in my scanner not great so there may be typos

He's on Dennis Gonzales "old time revival" Entropy CD ( which is excellent)

It's issue 55 April 2004 reviews of Across 7 Street We Loved You The Painter all very positive, reviews not available on line as far as I'm aware...sorry