Kevin Bresnahan

I am with you here. That is a phenomenal-sounding CD. Joe Henderson sounds like he's in the room with you. The Japanese version of Lee Morgan's "Search for the New Land" is a close second and the Japanese version of Jimmy Smith's "Back at the Chicken Shack" might sneak into the #3 spot. My least favorite sounding RVG CD was the Japanese version of Jackie McLean's "A Fickle Sonance". So tinny. Ugh. Sounded like it was mastered with some strange EQ.

Stanley Turrentine & Jackie McLean said the same thing to me, so I brought it up to Tom Evered when he was still working at Blue Note. He said that Blue Note tore up all their original contracts and rewrote them using "modern standards" so that all of the older Blue Note recordings were generating some revenue for these artists. He said that the next time one of these guys tells me this, give them his number (now long defunct) and he'll check to make sure the money was getting there. Now Prestige is a whole other matter. Gary Bartz has flat-out told me to steal/copy/tape all of his Prestige recordings to my heart's content because he has never received a dime from any of them. He is very bitter about it. And this isn't a old thing either. Eric Alexander did a couple of obscure dates for a small Japanese label. One was called "Heavy Hitters" and the other "Extra Innings". When I asked him to sign one at a gig, he told me that the label never even paid him for making the recording, never mind residuals.

So if I'm reading this right, Blue Note recordings from their heyday, 1955-1969 or so, are now protected for 110 years? This used to be 75 years after the death of the performer, right? So this means that now none of them will enter the public domain until 2065. It really makes me wonder why I'm seeing all these repackaged Blue Note dates from the EU. They're everywhere in the stores around me. It would seem to be pretty easy for their legal eagles to stop these from being imported with such a straightforward copyright.

https://www.discogs.com/McCoy-Tyner-Jackie-McLean-Its-About-Time/release/2821250 That is the CD cover you've posted.

I just finished Lee Child's latest Jack Reacher book, "Blue Moon". Over-the-top-Rambo is pretty standard for Child's Reacher books but this one goes way, way over the top... maybe even to the moon. Even though the bullets were flying and blood was spraying all over the place, I actually laughed out loud at one of the gun fights because I was picturing Weird Al the whole time.

Tom - enjoy your retirement. If you want to head down to York and spin a few records or grab a beer at the York River Landing, let me know. Now that my daughters moved out and it's just me & my wife, I can get some free time. Tom & I live in Southern coastal Maine. I don't think our winters can compare to New Brunswick!

Tailgating at Foxboro later today so I picked up some beer from the brewery up the street.

This is usually a very easy record to find: https://www.discogs.com/The-Richie-Kamuca-Quartet-Richie/release/3485899 If you need it on CD, it's never been released digitally as I've been told that Concord only licensed those Kamuca dates and they no longer own the rights. I have heard that the family got the rights back but I have no idea if that included the masters.

The main reason to have the German Hörzu pressing of "Magical Mystery Tour" was that it was the first pressing that was in true stereo.

I re-bought a "Wally" LP pressing of "Live Bullet" a few years back from Stereo Jack's $1 bin. He had several copies at the time. It sounds about as good as I remember it sounding back in the day. If you do decide to re-buy it, look for a Wally (Traugott) pressing. From what posters are saying over on the Hoffman forums, it's about as good as it's going to get on LP. Back to the topic at hand... I guess there was one LP I regretted selling. I did regret selling my LP of The Beatles' "Magical Mystery Tour", the German Hörzu pressing. I did buy another copy, so I do have it again and while it does sound nice, I also bought it mainly for nostalgic reasons.

Happy 2020 & Happy Birthday! I hope you have a good one.

I find that quality of the source and phono amplification has nothing to do with vinyl's shortcomings. You can have the best of everything and still have a crappy LP. On top of that, nothing in your playback chain will make up for the fact that they have to modify the music to put it onto the LP and that the resulting specifications for that LP playback are all well below 16/44 PCM's specs. Signal-to-noise is much worse. There is wow & flutter. There is rumble. There is RIAA equalization. There are limits to how much bass can be cut. The list goes on & on. No such restrictions for digital... which brings me to: I blame the assholes mastering CDs these days for their downfall. CDs can capture everything. But this ability to capture and modify everything also gave mastering engineers the ability to muck it up badly, particularly with regards to dynamic range. There are so many poorly mastered CDs out there, particularly in the past few years, that people forget that there are a lot of incredible-sounding ones out there as well. That said, I know where you are coming from with regards to vinyl playback. But as I've said many times, if a mastering engineer wanted to create a CD that sounded like an LP, all they would have to do is playback that record and convert it to 16/44 PCM and you would hear exactly what you hear when you play that record. 16/44 PCM can capture it all... including any warts that cause you to enjoy LP playback more than CD playback. I have many needle drop CDs and I can attest that they sound exactly like the LP it was made from, right down to the pops & clicks in all the same places.

I don't regret selling any of them. I hated vinyl back in the day. Poor pressings. Scratches. Pops. Hum. Rumble. Warps. Wobble. I am only buying it these days for fun. I still prefer CD. Sometimes I think we look at vinyl with rose-colored glasses. Vinyl was a pain in the ass and there was a reason we all dumped our records. We've just forgotten a lot of the worst of it.

I do like that one. Another one is Buddy DeFranco's "Blues Bag".

I've never had this happen before. I'm going to have to call Scott tomorrow to see if they "lost" my order. Not the best time to start missing orders. Edit: I just found my order confirmation from Mosaic. I ordered on February 18th, which would appear to be right around the day they announced it.

I pre-ordered this Mobley set shortly after it was announced and I've yet to receive a shipping notice.

You can't really "correct" that without removing the music occurring simultaneously to that bottle clinking around the floor and yes, I am hearing that it is still there in this new LP.

Michael Cuscuna tellls me that these Tone Poet LPs are selling incredibly well, so I imagine we'll be seeing more & more of them... well, until they don't sell. The thing I wonder is if "sell" = "number of LPs pressed" as I bet with all the returns I've read about, they are pressing a lot more than they're selling.

Larry - if they use your notes again, do they have to pay you for that use? I mean, you did this for BN Japan, right? Can they use them here in the US without paying you?

If it's on lacquer, get on this seller to make sure it's packed properly before shipping it, otherwise, you may get a box black dust. This seller sounds like he/she doesn't know much about 78 rpm records, so if it's lacquer, you really need to make sure they know how fragile it is.

Given how Kevin Gray seems to cut "small" (meaning he leaves a large area of dead wax), he should be able to cut these longer sides no problem.

Over a year later and Blue Note is still offering a signed deluxe edition and yet, a search of the web yields no pictures of a signed edition. Very odd.

Malcolm Addey has mastered many Blue Note CDs already so you know how it's going to sound. To my (old) ears, he seems to go for a more neutral sound. I don't hear a lot of EQ going on like some mastering engineers. I think he's a lot like Ron McMaster in this regard.

Are you talking about it being in session order for the first 3 sessions or are you talking about the order of the tracks within each of these first 3 sessions? I would think that after all the crap Michael Cuscuna got from the re-sequencing of "No Room For Squares", "The Turnaround" & "Straight No Filter" that putting them out in straight recording order takes that all away. In that regard, it makes sense to me.

I was once told by someone who knew Mal that the smoking bans in the US are why he stopped touring there. I once had a chance to see him in Berlin when i was there on business but the business side of things ran over. I regret that I never did get to see him play.