Kevin Bresnahan

Cannonball Adderley Quintet - Plus (Riverside) on the OJC CD. I still can't believe that I don't have this in my CD stacks somewhere. I'll probably find it a few days after I get in the one I just ordered.

"Boss Tenor" was recorded in 1960, so most certainly a stereo master tape. By 1960, Van Gelder's mono masters were fold downs of the stereo masters. I have the later RVG CD of "Boss Tenor", which I kept after doing an A/B to the old OJC. I don't remember which one I had so I can't help you there. 1960 original release LP cover...

Is that the one that got pulled for some reason?

Jazz Profile by Jack Gordon on Fruscella: https://jazzprofiles.blogspot.com/2020/04/tony-fruscella-by-gordon-jack.html I found it kinda sad to read. The guy clearly had a drug & alcohol problem that pretty much ruined him.

Thanks for pointing that out. I missed that. Good to know he made it through. I was wondering what happened since he posted a lot prior to his Covid episode.

I still consider this one Douglas' best CDs. I haven't played it in a while myself. Maybe time to pull it off the shelf again.

Kirsten Edkins - Shapes & Sound (Cohearent Records). The first (?) release from this label, whose stated goal is to capture Jazz musicians similar to the way it was done in the late 50's & 60's - with minimal miking & all tube gear. As for the music itself. Very nice if a little laid back. The pianist, Gerald Clayton is the only bad member I've heard of but the rest of them hold their own. This is a very enjoyable listen. The reason for the ? after first is because label head Kevin Gray released a Victor Feldman LP called "In My Pocket" back in 1978 on his label, which he called Cohearent Sound. I don't know why he gave the name a little tweek.

What bugs me the most is that one of the posters who does this frequently, who posts under the moniker "Josquin des Prez", did it recently: [QUOTE="Josquin des Prez, post: 31496586, member: 30945"]Yeah, you might have your TT setup wrong. Most people get it basically right, but settle on it too quickly since that works for most things. However, that may not work well for corner cases, like records with greater than average tracking challenges. PoH is one of them, for example. If you listen to large-scale orchestral classical works getting setup fine-tuned and correct is critical. There are some Mahler brass choirs playing fortissimo that are not unlike those sections on PoH where Chet pushes the mic. I'm not in denial about it. Joe and Kevin have addressed the concerns, and Blue Note published a statement about. Ignore or deny it if you want, but the fact of the matter is that PoH does not have a mastering issue.[/QUOTE] I quoted this post and said that it was rather rude to say that and my post quoting this was deleted, not his. On top of that, I clicked the "Report" button on that post and it is still there. It's sad that a forum that claims to be full of audiophiles allows certain posters to say shit like this about other poster's abilities/setups and get a pass. If I did that, they'd kick me off. It's the favoritism over there that really sucks.

Damn - I don't have this on CD! I don't know if I had it and lost it or if I never got around to it. Does anyone know if the new copies available on Amazon are CD-Rs or regular CDs?

Maybe I'm missing your point but I'll try not to be a jerk about it... I have been one of the ones complaining about the distortion on that thread because there are several posters... some being real assholes about it... that keep claiming that the distortion is not due to the record being cut too hot and that my playback problems are due to my setup. My setup is not the problem. The cut is too hot. And I must add that the distortion on my turntables made the track "Plantation Bag" un-enjoyable to listen to so I gave it to Lon. That's how bad it was. The sax & piano broke up loudly and really intruded into the music presentation. I don't know how anyone would want to listen to this again. FWIW, if people would stop saying "It's your setup" on that thread, I would stop politely telling them they are wrong. I'd love to tell them they are full of shit, but I can't over there. So it's simple - they stop telling those of us who can't play that record without distortion that our setup is the problem and we'll stop correcting their misguided statements. But even simpler would be for Blue Note to actually admit it was cut too hot and end this debate. When they came out and said, "We don't hear it". it opened the door to this. If they had simply said, "Yeah, it appears we cut this too hot for some cartridges", I don't think we'd be having this seemingly endless argument over there. Most of us would read their statement and move on. Sure, there would be some calls for a re-cut (and I do believe that it should've already happened) but at least the personal sniping about how inept we are at setting up our turntables would stop.

Where are you reading about people complaining about the music on the Tone Poet LP? I've only read about people complaining about the couple of spots of distortion during playback on the track "Plantation Bag". That was my only complaint. The music was fine. Not my favorite Hill date for sure, but still well worth releasing.

Yeti travel mugs have almost unbelievable thermal retention. I can fill one with hot coffee and after an hour drive, it's still very hot as if it was just poured.. The only drawback to them is that they are pretty expensive.

I went there in the late 90's while vacationing in London. I was pretty disappointed. I went through the whole place and had no luck at all. Now that Tower Records store in Piccadilly Circus... that was nirvana. It was convenient too. Come up the tube escalator, grab a coffee at the Dunkin' Donut shop right at the top of the escalator and then a few steps across the street and bam - you were at a great CD shop. I must've bought 10 Japanese CDs during that trip.

I'm surprised that you haven't gotten the chance to see Ford play live more recently. I'm pretty sure that he is still living in France. I think he's been living there for almost 30 years now. I guess he doesn't tour around Europe much?

Well, since I can't see Ricky play live tonight because of the storm, I'm going to spin this: "Songs For My Mother". For those that don't know, Ford's mother was killed in the TWA Flight 800 crash that also killed Wayne Shorter's wife Maria in 1996. She sounds like she was something special: https://www.courant.com/news/connecticut/hc-xpm-1996-07-24-9607240343-story.html

I bought Mark's "New York Session" CD from him when he came through a few years back. Excellent disc.

Classic Jazz at the Philharmonic Jam Sessions (disc 9) (Mosaic). Fun stuff. I'm really digging "The Slow Blues" that's playing right now.

Maybe I should add some context to my post... For some strange reason, well, "strange" to me that is, Yusef Lateef's "Eastern Sounds" was chosen for release in Craft's ultra-expensive Small Batch audiophile LP series. These LPs are pressed in very small quantities and sell for $100. They sell out instantly, probably because they go for big bucks on the secondary market. The flippers love these records. The first two releases in this series were John Coltrane's "Lush Life" & Miles Davis' "Relaxin'". When "Eastern Sounds" was announced, I made a comment that it was a weird choice and one that would seem to be a "What the..." title next to Trane & Miles. Someone chimed in and said he was very happy that "Eastern Sounds" was chosen because it was one of his Top 5 jazz albums of all time.

Yusef Lateef - Eastern Sounds (OJC). I'm still wondering how this can be in someone's top 5 favorite jazz LPs of all time. I mean, yeah, it's nice enough. But top 5? I couldn't do that.

Postponed. Bummer.

Yes - Boston. If you enjoy these sessions, try to get your hands on the 2 CD reissues: https://www.discogs.com/release/11562979-Sonny-Stitt-Jazz-At-The-Hi-Hat & https://www.discogs.com/release/10061005-Sonny-Stitt-Live-at-the-Hi-Hat-Vol-2-. I think Malcolm Addey cleaned these recordings up very nicely and both volumes have 20 previously unreleased songs.

I've been told that Van Gelder had an 8-track analog setup then.

But in the distortion that I heard on the "Passing Ships" track "Plantation Bag", the whole audio distorted, not just the saxophone. In fact, the distortion almost sounded like a loud skip in the record or a loud burst of audio noise. It didn't sound like the saxophone was distorted. It sounded like everything was distorted for just a few milliseconds. And again, if this distortion is "on the tape" as Dean claims, how are you able to play that record back without hearing it? There is no way to adjust away distortion on the tape used to cut a record. It's either there or it isn't. Since you can play that record back without hearing any distortion, it's not there. How about this analogy... Let's say you take a picture, but you screwed up when you snapped it. It was distorted: So now you print that picture onto a piece of paper and look at it. "Aw crap, it's out of focus," you think. But wait, I can look at it through a special filter. Nope. Still out of focus. Maybe if I change the lighting? Nope. Still out of focus. There is nothing you can do while viewing this print of an out of focus picture to make it look like it is in focus because it's distorted on the "master" copy of this picture.

But that's not true, is it? If the saxophone is the loudest sound at a particular point in the music and the recording levels are set too high, even in the digital domain, the sax sound will distort. I have a Denon audio CD recorder and have made several needle drops over the years. To be honest, I've found it much harder to set the recording levels using that digital recorder and when the levels are set too high, the distortion is different from what you hear with analog recordings. Digital clipping is nothing like analog clipping. It's like a popping or clicking sound. I suppose I could sit down this weekend and do a needle drop of the new Cohearant Records LP, "Shapes and Sound" by Kirsten Edkins and make two passes at it. One with the levels set properly and another with the set too high and post some samples of each for us to compare. I do want to needle drop this as Kevin Gray has not said if this record will ever come out on CD.

Look at this word salad from Dean in response to my last post... [QUOTE="Dean R, post: 31509131, member: 43842"]Oh bless you. There is no natural way to transfer the mix to digital - almost certainly done as the mix was being created and transferred to analogue - that would create a distortion in the saxophone alone. But why don't I say that I'm sure your knowledge is far greater than mine in the world of transferring analogue tapes to digital, and you can continue to put this as being due to peoples' ears imagining the exact same distortion on their records as is present on my WAV in the same place. I mean that's a bit of a coincidence, but what do I know? I mean feel free to reply, but honestly there's no need to add in the extra emphasis via italics, I already know that you think people are imagining this. But finally there is distortion on all master tapes - that's what noise is. Mastering engineers then work to translate that distortion into a pleasurable listening experience. If you don't think they can tone down unwanted distortion, you have clearly never spent any time with old tapes, working with a top level mastering engineer.[/QUOTE] My response was: I heard this distortion on my Tone Poet LP when I played it on either of my turntables, both setup with Ortofon 2M Black cartridges. It was not imagined. It was very real. Because of the comments here, I swapped in my backup cartridge, a Denon DL-103, and the record played fine without any distortion. (Yes, those italics are for emphasis). If this distortion is present on the master as you claim and this distorted signal was then cut onto our records, every single turntable would play this back with that distortion. The fact that we can make it go away by tweaking our playback system means that it's not cut onto this LP. >>>>>>>>>>>>> For those of you following this here... and I know it's weird doing this here and not staying over there (I still think I'll be scrubbed out of that thread over there soon), does everyone here get what I'm saying or am I the one being obtuse? And a question I have for you here on the big O board that I don't think I can ask over there is: What does he mean by "There is no natural way to transfer the mix to digital - almost certainly done as the mix was being created and transferred to analogue - that would create a distortion in the saxophone alone." "no natural way to transfer the mix to digital"?? That is just dumb. The analog stereo master was created by mixing the 8 analog channels. Once that analog stereo master is done, it's really quite simple to transfer that stereo mix to digital. It's done every single time a digital CD master is made from an analog stereo tape. I don't get what he is saying here at all.