porcy62

As someone pointed out 'this thread was started to discuss what people like', but I will add my opinion about 'world music'. I think that, before cd's era in the so called 'Western World' all non classical/jazz/rock music consisted of Bob Marley and national folk music. Bob Marley was more or less assimilated to rock music, like folk oriented groups like Pentangle. 'National folk music' is a term that indicate a national market for national music, so I would include italian singers from Napoli and irish traditional music, country and western, french chansonniers, ecc. Before start to arguing consider this: in a country different social/etnic groups express different culture (music) and create a market for this music, like old 'race records'. All non 'western' music was also a market for immigrants, mostly cassettes. Countries like France and Uk who has big and strong communities of immigrants developed strongest markets for music. The development of relationships between different ethnic groups, and the affirmation of etnic groups in term of social acceptance, economic situation, ecc pushed the market of this music. If you consider that a lot of 'world music' is traditionally music for dancing you can see how white teen agers started to appreciate african music at the discos. Peter Gabriel, Ry Cooder and others enlarged the market for this music. Do we have to blame them? Did they stolen the music from blacks, to follow the accuses of Davis and other black jazz musicians toward white jazz musicians? My answear is no. On the contrary I think they provided new opportunities for musicians who live outside the 'civilized word', and gave us the opportunity to discover new music, otherwise hardly accessible. Don't forget that we hadn't Internet at that time, and if you wouldn't have a pakistan community in your country and a some sort of relationship with it, probably you wouldn't have discovered Nusrath Fateh Ali Kahn. There were also few people that have a specific interest for this music, I remember that trading hard to find records and cassettes of Fela Kuti it was a sort of 'secret society'. Consider that a part cities like Paris, NY, London and few others, it was almost impossible to find this music some years ago. 'World music' will remain a niche market, like jazz or classical music. During the Real World explosion people bought 'world music' because it was the new thing, because it was exotic, because they were curious, for a lot of different reasons. Now we have a market for 'experts'. It's nothing different from jazz or classical, people started with Mozart or Brubeck and ended with Schoenberg and Brotzmann. Now we have specialized shops with more specific shelves, from Kora to Finnic tango, nothing different from specialized shops of jazz and classical music. In most common shops they file M. Buble with O. Coleman, B. Spears with J. Hendrix, if I wish to buy some particular music I go in a specific shop, what's the problem? The term 'world music' is obviously innacurate, but it makes sense. Could you provide an accurate definition of 'jazz' who include every aspects of the music, from stride piano to Wheater Report, from Lambert, Hendricks and Ross to John Zorn, a part 'jazz is what we (or a particular group of people) call jazz'? Categories make sense in a communication process, from general to particular. Anyway if I would start a new thread for every different music I listen to, this would be the Porcy's forum P.S. English is not my language, as you have noted, so consider 'cum grano salis', the above terms like 'ethnic','black', ecc..

A part Krakauer (east europe klezmer music) I would suggest Cheikha Remitti. http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:fme097r7krkt

I am listening to 'A New Hot One' of David Krakauer. Whow, I forgot I had this cd. I realized I have a lot of so-called 'world music' (not a great definition, all the music coming from the world, a part Sun Ra). I remember how great and exciting was discovering Nusrath Fateh Ali Khan and Ali Farka Toure twentyfive years ago. (I know, I know Coltrane and friends discovered WM twenty years before me). I think I bought almost all the Real World cds, and from World Circuit, Label Blue, ecc. Maybe it depends on my love for travelling, I still have somewhere the cassettes I bought in Burma, India, Morocco... (my tape deck passed away years ago).

Well, you have to admit that 'Near & Middle Eastern World Music Thread' was hard to imagine in a forum's search! I will move my post in your thread!

I am listening to 'A New Hot One' of David Krakauer. Whow, I forgot I had this cd. I realized I have a lot of so-called 'world music' (not a great definition, all the music coming from the world, a part Sun Ra). I remember how great and exciting was discovering Nusrath Fateh Ali Khan and Ali Farka Toure twentyfive years ago. (I know, I know Coltrane and friends discovered WM twenty years before me). I think I bought almost all the Real World cds, and from World Circuit, Label Blue, ecc. Maybe it depends on my love for travelling, I still have somewhere the cassettes I bought in Burma, India, Morocco... (my tape deck passed away years ago). Anyway I think this forum lacks an appreciation thread about it.

Wolff is right. I have the Classic's reissue, I wasn't impressed by the sound at the first listening, but it was the first time I listening to the record, so I was followin the music more than sound quality. At the moment I am listening to records with a crappy and old system borrowed by a friend, because my system is at assistance, so I wouldn't be able to made a review, but as soon I will get my system repaired I will do an analytical listening.

Just a few classical records I got from ebay, at ridicolous prices and in NM condition: Beethoven, 8* and 9* Symphonies, Karajan, mono DGG first pressing. Mahler, 1*, 2*, 3* Symphonies, Solti, Decca stereo first pressing.

The only UK vinyl reissues I know is Simply Vinyl, (mostly rock titles) and I don't like them. Talking about japanese pressing, I don't know the King's BN, but usually I find jap pressing deadly silent on great vinyl quality, great definition but a little 'thin', at least in the records I have.

Re-mastered? Do you mean 'mastered from original master tapes in an all analog process'?

I have a Linn Akiva, according to most high end gurus, aka Stereophile, it seems to be one of best stylus cut, (line contact) for worn records. I could get a TT that accepts 2 arms, but I should part with my LP12, no way! Anti-skate is useless. Anyway when I will go to my gear smuggler to get back my repaired amps, I will bring TT to him, to have a check up from an expert.

Thanks Wolff. Agree, 'a worn record is a worn record and will be noisy regardless if it's mono or stereo and no matter what you do', I am looking for a way to hear them in the best way. Actually I think I should sell my house to replace my worn Beatles UK monos with better copies.

I know that a stereo cartridge has vertical and horizontal oscillation from the grove for different channel. A mono cartridge has only one oscillation. Wich one is left channel, vertical or horizontal? I am asking this because I noted that in my system on old mono records the left channel is usually more 'used' and damaged than right one. My TT system is set up correctly. So I am asking myself if an Y adaptor/connector could allow me to enjoy my old mono records without hearing the time's damage, avoiding more expensive solutions like a mono cartridge. Sadly my preamp does not have the useful mono/stereo/mono-left/mono-right switcher of my old Marantz

Escalator Over The Hill - C. Bley.

TUXEDOMOON HALF-MUTE Ralph

What Wolff said. Consider also some good used TT, you can have them at good price. Obiously TTs are more expensive, need more care and maintenance and you have to replace the stylus/cartrige ... but you know it BTW upgrading my old Thorens to a better TT, Linn LP12, was such a musical pleasure that I started to buy tons of used vinyls, from Mahler to Hendrix, from Miles Davis to Neil Young. I think it was my best move in audio market of my life of buyer.

After this rumors about Classic Records' problems, I listened carefully at most of my copies, Zep, CSN, Hendrix, BN, Dylan and Who. Maybe I am a lucky guy, but I didn't find any problems.

It's slow, very slow for me, and some threads give me an error message. Sorry Jim for the bad news.

This afternoon: John Coltrane and Duke Ellington, Impulse, original stereo John Coltrane SETTING THE PACE, Prestige, mono blue label Duke Ellington, Max Roach, Charles Mingus, MONEY JUNGLE Classic reissue

Jimmy Heat THE QUOTA Riverside mono

My opinion about it, after I calmed down, (and waiting the response from Linn assistance) is that the problem should be the power amp, in fact the light of power was on, but it didn't sound. The power amp has a fuse on his main supply that was ok. A lightning strike or a power company large surge should have burned the fuse, (and the fuses of my other mono amp and the preamp as well). So I think I will have to change the name of this topic: 'Saying goodbye to solid state power amp' Anyway after the assistance's response I hope I will do official apologies to tubes.

MINGUS AT MONTEREY, Charles Mingus.

Or Fripp used a telesope shot for this King Crimson record?

Considering the psych record's covers of the 60's, you don't need a telescope to obtain imagine like this.

Damn! The last I observed this Mosaic it reached 450$. Time is fleeting! http://cgi.ebay.it/ws/eBayISAPI.dll?ViewIt...me=STRK:MEWA:IT

Just grabbed a bunch of Van Morrison's records (later german and UK pressing): Astral Weeks, T.B. Sheets, It' too late to stop now. I love this guy!