Kevin Bresnahan

Not that I mind that it got issued this way, but does anyone know the story of why this isn't being released as part of a box set on Columbia? Did Brubeck get back the rights to his masters? I hadn't heard that if he did.

She's wondering, "Why are all my records warped"?

If you use Firefox, just download the Add-on called Video Download Helper: https://addons.mozilla.org/.../addon/video-downloadhelper/ Once you install that, when you go to the page with this music, just click the Video Download Helper icon. It'll be at the top right of the screen and it'll be 3 little balls colored red, yellow & blue (they are gray if there is no download content). Click that and it'll show you the file you want (Miles Davis Sextet Acetate - Clyp.mp3) and on the next screen, click "Use browser". It shoould get downloaded to your download folder.

I saw him in Gravity, which was all tuba. Being a huge fan of the baritone sax, I often wished he would come to Boston with it, but alas, it was not to be. And I do love the color Howard's tuba gave Mobley's "A Slice of the Top".

Howard Johnson's partner Nancy Olewine just announced on Facebook that he died after a long illness. https://www.facebook.com/HowardJohnsonTuba/posts/3584798164908759 I only got to see and hear Howard once but he really played his ass off. Truly an original when it comes to tuba Jazz.

Baritone? Really... I only have Stitt on baritone on those live Roost recordings. I'll have to try and pick this up if it's got Stitt on bari.

Does Stitt play with a Varitone attachment on all tracks? I really don't like the sound of the Varitone, which is why I never picked this up.

I am buying many of these Tone Poet LPs specifically because I feel like playing records again. In direct comparison, I have found that the CDs sound fine and if that was all I had, it would be enough. The normal hassles of vinyl are still there, so I don't recommend these records to anyone who is anal about that stuff. If you buy a record and feel the need to return it for any slight pressing defect, you should probably stick with the CD. As I've mentioned before, my hearing is not what is was, so I don't want to talk in absolutes but if I had to choose only one version, it would be the CD, but that is because of convenience, rather than 100% about sound. I only have 1 turntable and it is not in my car or on my back deck.

I don't believe they've pressed these Music Matters 45 rpm LPs for many years so any of them that they are selling now are from their stock.

Two things happened to end the Music Matters Jazz reissue program. One was the retirement of Ron Rombach. The second was Blue Note hiring Joe Harley and Kevin Gray to continue these reissues for them. Thus began the Tone Poet series. Truth be told, I am very glad that they did this and did not continue with Music Matters. Music Matters releases were limited. Tone Poet releases are not. Music Matters releases started out at $34.95/each and were $39.95/each by end and they didn't offer free shipping unless you bought more 4 or more LPs. Blue Note Tone Poets can be found for under $30 here in the US and many vendors offer free shipping. Music Matters stopped using distributors after the first few releases which made them the store where you could buy them. Tone Poets are everywhere. And one of the worst things about the Music Matters LPs was that as they started to sell out, they raised the prices. No major label does that.

I've heard these and the sound would not make you think they look this interesting. These too...

I used to love shopping for audio gear so I guess I can see the draw to having a lot of variability in your audio system. But at the same time, even when I comparatively shopped for audio gear, I eventually thought to myself, "That one sounds the best". If I was shopping with the intent to buy, that's the one I bought and took home. I would never think to buy several versions of that piece of gear, even if money were no object. If I were using this shopping analogy with Charlie's gear and he (or she) is "going shopping" every day to listen to music, shouldn't one combination have "won" the listening competition by now? If you find yourself nearly always playing the same combination of gear, why go back to a different set-up? As sonnymax pointed out, I have bought many many copies of certain pieces of music. But as I pointed out, I listen to each and choose one best-sounding version every time. And even if I keep multiple versions, I always pull out the version that I thought sounded best when it comes time to listen. Why would I listen to the version that didn't sound the best? This is why I'm down to one digital copy of "Soul Station". Yes, I still have 4 digital versions of "Kind Of Blue" but 4 CD/SACD discs take up a lot less space than 4 tube amplifiers.

Are you arguing semantics now? You're using alternate terms for the same item. Belt drive = turntable. Idler drive = turntable. Direct drive = turntable. Same thing with all those tube names. No matter the tube, they're all just "amps". I have been at this a long time and I have heard many of these variants, both in turntable technology as well as amp technology. I have had and used a belt drive and a direct drive turntable. I chose to stick with one (direct drive). I have used solid state & tube amplification and when I was using tubes, I tried EL34, KT88 & 6L6 output tubes with a wide variety of input tubes. I now have a solid state. I have sat and listened at length to someone's 300B tube amp as well (not worth the money in to my ears). I see no reason to keep around every variation of audio reproduction nor would I see any benefit doing this since I already decided which one was the best for me. The way I see it, you're just continuing to muddy the waters for yourself. Next thing you know, you'll have to set up this decoder ring... lets see, to listen to this Music Matters LP of Soul Station, I need to use the belt drive turntable with the carbon fiber tonearm and the high-output moving coil cartridge, played back through the tube phono preamp to the solid state preamplifier to the EL84B tube amplifier, but I have to swap the Bugle Boy 12AX7's with RCA greyplate 12AX7s, and oh wait, this only sounds good with the handmade speakers in the other room but those require those Shinyata wires. Oh wait, I forgot that I have to swap those preamp to amp interconnects to those Audioquest silver ones. The permutations go on & on... why do that to yourself?

You are correct - it is the XRCD.

Hey - I'm down to 2 now! One digital (hybrid SACD) and one LP (Music Matters).

I found this page that lists a few shows (not bootleg tapes as I thought at first) from that period: https://www.angelfire.com/oh/squonker/concerts.html It shows a Mingus Dynasty show in 1979, a Heath Brothers show in 1980, a Pete Seeger show in 1980 & a King Crimson show in 1981. My co-worker's father seems to have all of these.

These pictures really make me scratch my head... how do you decide what to use? And how do you swap them? And how do you compare them? And why have so many of the same thing??? Can't you just pick the "best" of each component and dump the rest? I just don't get why one would need 3 or 4 turntables, 7 or 8 amps, 3 or 4 CD players, 4 or 5 preamps, etc, etc, etc. I have a friend that collects old audio stuff for parts. This looks a lot like his basement.

My favorite of 2020 was Carl Hiaasen's "Squeeze Me". I laughed quite a bit. I needed that during this past year.

According to Michael Cuscuna, Andrew Hill's "Passing Ships", an early example of an RVG multi-track recording, was re-mixed/remastered from these multi-track tapes in analog for this LP cut so it could sound quite a bit different from the CD.

His father. I believe that they are recorded on reel tapes. I don't know the speed or type of recording but the impression I got was that they were well recorded. I just don't want to push to hear these if it turns out that no one of much importance played there. The 1978-1982 time period was not kind to Jazz musicians.

I have a co-worker whose father attended Oberlin College in the late 70's into the early 80's and he apparently professionally recorded some of their live shows as part of his studies. Is there a website that lists the live performances held there? I'm wondering if there are any that might be worth hearing.

Trane going at it like that for 9 minutes... didn't Miles hate that? It makes me wonder why he had Trane go on that European tour at all. From this, it sounds like he knew what he was in for.

The cover says 81569. If it was mono, there would be no 8. BLP-1569 would be the mono catalog number. That is one Tone Poet I will not be buying. Not a fan of Chambers' solos on that.

This is getting reissued on vinyl in February. Kevin Gray is cutting it and it'll be pressed at ATI, like the Tone Poet LPs. Craft Records is reissuing all 4 Baker LPs (from the discontinued box set) in February. This is good because I am not a huge fan of his Riverside vocal records.

I went to Birdland several times in the late 90's and saw some great shows. I was lucky to see Andrew Hill with his big band (that was recorded later for the CD, "A Beautiful Day"). Another time I saw Lovano, Liebman & Brecker go toe to toe as I sat at the bar with Maria Schneider. We got to talking after the set about the show. It wasn't until after she left and someone asked me what we talked about that I found out it was her.